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

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Samuel K Cohn, Jr. joins Jana Byars to talk about Popular Protest and the Ideals of Democracy in Late Renaissance Italy (Oxford University Press, 2025). This work, now out in paper, is the first study to analyse popular protest across the Italian peninsula and the Venetian colonies during the early modern period, 1494 to 1559. Drawing on over 100 contemporary chronicles and diaries, the fifty-eight volumes of Marin Sanudo's diplomatic dispatches, mercantile letters, and commentary, and 586 collective supplications scattered through archival sources from towns and villages in the Grand duchy of Milan, Samuel K. Cohn, Jr. places these incidents and their patterns in comparative perspectives, first with the late medieval heyday of popular revolt and then with regions north of the Alps. Cohn finds new developments during the early modern period such as an increase in women rebels, mutinies of soldiers, and new tactics of revolts such as shop closures, peaceful demonstrations of strength, and use of religious processions for discussions of tactics and strategies for obtaining logistic advantage. At the same time, these protests show convergences with the medieval Italian past, with leaders coming almost exclusively from the ranks of nonelites, religious ideology playing a surprisingly minor role, and the majority of revolts centring overwhelming in towns and cities. Finally, this study demonstrates that democracies do not just die under the duress of military occupation and growing powers of autocratic regimes. Ideals of representation and equality not only persisted; they could emerge in new forms and with greater sophistication.

Delve into a Steampunk post-Renaissance Italy where rival families feud and scheme for control of the world's most prosperous city. Follow the tale of the Bardi family, the paragons of  a once great banking empire, as they desperately seek to survive in a city of troubled inventors, ambitious exiles, and scheming aristocrats.    Welcome to the Very Reasonable Pilots Podcast, where your hosts Jake and Charles bring you new worlds, characters, and thrilling stories  packaged into exciting TV shows and films with episode by episode rundowns, character deep dives, and fully fleshed out pilots. Listen to the full episode of the Very Reasonable Pilots Podcast on YouTube, Spotify, or wherever you get your podcasts. Weekly episodes released on Monday  Instagram: @veryreasonablepilots Reddit: r/VeryReasonablePilots Weekly episodes released on Monday Twitter: @charles_lung & @VRPpodcast YouTube Reddit This podcast is powered by Pinecast.

Come listen to a WUU service! Join us as we explore the powerful connection between belief and creation. We'll journey from Renaissance Italy to the Great Awakening in the American colonies, and on to our own time, examining acts of courage and faith that transformed the world. Seth Merritt has been a WUU member since 2014, and a resident of Williamsburg since 2005. He has been a “remote” employee of several organizations engaged in nonprofit fundraising and advocacy, and recently joined William & Mary's development team. He is a husband, father, and professional amateur. Liz Wiley, Worship Associate Seth Merritt, Worship Leader Heidi Sousa, piano John Chowning, Guest Musician Thank you for listening. For more information about the Williamsburg Unitarian Universalists, or to join us on Sunday mornings, visit www.wuu.org. Permission to reprint, podcast, and/or stream the music in this service obtained from ONE LICENSE with license #A-735438. All rights reserved.

Early Modern Italy birthed artistic giants like Leonardo da Vinci and Michelangelo, saw architectural marvels like Florence's dome and St. Peter's Basilica, and pushed scientific frontiers in astronomy. This same vibrant era was also home to Bologna's uniquely regulated sex work industry.So what was life like for the sex workers of Renaissance Italy? Kate is joined in this episode by Dr Vanessa McCarthy, historian of gender, sex, and sexuality in the early modern world at the University of Toronto.This episode was edited by Tim Arstall. The producer was Stuart Beckwith. The senior producer was Charlotte Long.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast.

In this episode, we are honoured to speak with Mary Laven, Professor of Early Modern History at the University of Cambridge and a Fellow of Jesus College. Mary is widely known for her influential work on the social and religious history of early modern Europe, particularly Italy. Her most recent book, co-authored with Abigail Brundin and Deborah Howard, The Sacred Home in Renaissance Italy, was the result of a four-year Synergy Grant, funded by the European Research Council.Mary currently leads another interdisciplinary project ItalianROSE—'Italian Renaissance Objects and Spaces of Encounter'—which investigates the complex interdependencies underpinning the cultural production of the Italian Renaissance.

Lords: * Alex * Shannon Topics: * The rapid proliferation of identical mobile games * https://store.steampowered.com/app/2348100/YEAHYOUWANTTHOSEGAMESRIGHTSOHEREYOUGONOWLETSSEEYOUCLEARTHEM/ * Randomly generated time traveler loadout * Turning your body into 3D printer filament after you die * https://www.suspenders.com/products/1-1-2-undergarment-hold-up-reg-suspender-hip-clip-style-patented-no-slip-reg-clips * Girls Only Want One Thing, Isabel Correra * https://www.instagram.com/isabellecorreawrites/p/Cz3t1xQOnx/ Microtopics: * Alien Clay. * Gravity Falls. * Tryharding at Duolingo. * Removing the popsicle sticks in the right order or the king dies in lava. * Writing a solitaire game generator and uploading 30,000 solitaires to the app store. * Ads that are not even pretending to not be falsely advertising to you. * Mobile game advertisers all pretending that their games are the same non-existent game genre. * Yeah! You Want "Those Games," Right? So Here You Go! Now, Let's See You Clear Them! * People saying "that ad for a game where you pull out popsicle sticks until a king doesn't die looks pretty good but when I click on it it's a completely different game." * Lying to consumers in the 80s vs. lying to consumers today. * Ads that are just two horrifying images to get your adrenalin spiking. * Screaming Tamagotchi. * The Paw Patrol diagetically being funded by real life Paw Patrol merch sales. * Maximizing emotional whiplash when it doesn't matter which two emotions they are. * Having a week to prepare for a one way trip to Northern Italy in 1326. * Going on a trip and bringing along your undeveloped Broca's area. * Bootlegging reproducing GMO crop seeds in Renaissance Italy. * Wizard/Prophecy Person. * 21st Century Traveling Merchants. * Bringing your jar of penicillin mold to the 14th century. * Being stranded in Renaissance Italy and becoming travelling minstrels. * Larger bearded guy that wears suspenders (under a graphic tee) * When were you born? The 14th century. Fuck you. * Bringing a snack to the spooky extraterrestrial from the planet Vulcan who lives in the woods. * Big ol' dogs. * Non-electronic megaphones. * A little top you can spin that's made of grandpa. * A magic genie that can grant any wish as it's for a small striated plastic trinket. * Getting turned into Redstone after you die. * A poorly-made fidget spinner that used to be your husband. * Shipping ashes and asking that ashes be put into things. * The sloughed off skin cells coating everything you send in the mail. * A shitty fidget spinner that just happens to have some human remains in it. * Where human composting is allowed. * Places it's no longer legal to bury a body. * The problem with imbuing symbols with value. * An alternative wedding ring that you switch to as necessary. * A plant that is a metaphor for death. * Grandpa living forever by being repeatedly melted down and 3D printed into a new toy when you get sick of the old once. * Bringing 3D printing back to 14th century Italy to revolutionize reliquaries. * Giving the world both Frog Fractions and Topics. * How many people you pass on the street each day are wearing suspenders under their shirt. * Hip Clips Style Under Ups. * A poem that's in the bucket twice. * Love is a seed and lust is a bird ravenous for seeds. * Burying the word sorry and seeing what grows. * Poetry that's just a paragraph of text. * What you're going to be if you eat the fruit of the sorry fruit. * Trying to imit inimitable things. * There's a lot of different women and they all want different things. (Except they all want to travel back in time.) * My Mother's Savage Daughter. * Girls only want one thing: to not be found on the Internet.

On the Shelf for June 2025 The Lesbian Historic Motif Podcast - Episode 316 with Heather Rose Jones Your monthly roundup of history, news, and the field of sapphic historical fiction. In this episode we talk about: Recent and upcoming publications covered on the blog Bronski, Michael. 2012. A Queer History of the United States (ReVisioning American History). Beacon Press. ISBN 978-0807044650 Rouse, Wendy L. 2022. Public Faces, Secret Lives: A Queer History of the Women's Suffrage Movement. New York: NYU Press. ISBN 9781479813940 Boag, Peter. 2011. Re-Dressing America's Frontier Past. University of California Press, Berkeley. ISBN 978-0-520-27062-6 Boag, Peter. 2011. “The Trouble with Cross-Dressers: Researching and Writing the History of Sexual and Gender Transgressiveness in the Nineteenth-Century American West” in Oregon Historical Quarterly, Vol. 112, No. 3: 322-339 Brown, Judith, C. 1986. Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. Oxford University Press, New York. ISBN 0-19-504225-5 Recent Lesbian/Sapphic Historical Fiction An American in Paris by Margaret Vandenburg Whispers of Love Beneath the Hidden Manor by Aiyo Sa The Ladies by Caitlin Crowe The Eye of the Water: Between Creek and Roots by Stephanie Hager-Lyons A Soft Place to Land by Kelsey Kranz Lady's Knight by Amie Kaufman & Meagan Spooner Six Wild Crowns by Holly Race Daughter of Doom by Jean-Claude van Rijckeghem A Rare Find by Joanna Lowell Murder by Proxy (Meredith and Alex Thatch Mystery #3) by Rachel Ford Bury Our Bones in the Midnight Soil by V.E. Schwab Other Titles of Interest Damsels and Dinosaurs by Wren Jones By Her Sword: A Sapphic Fantasy Romance Anthology (Sunset Wave Sapphic Anthologies #2) edited by Erin Branch What I've been consuming Inventing the Renaissance by Ada Palmer This month we interview Joanna Lowell and talk about: Working with historical language and issues around characters who don't fall neatly in the gender binary How her previous books connect together Actor Charlotte Charke as an inspiration for the character of Georgie Theater as a place for queer themes Avoiding being locked into incorrect historical tropes How the novels of Alexis Hall and Sarah Waters work differently with gender The difficulty of getting away from modern identity categories Books Joanna has recently enjoyed: A Gentleman's Gentleman by T.J. Alexander Ladies in Hating by Alexandra Vasti A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page) Links to Joanna Lowell Online Website: https://www.joannalowell.com/ Instagram: @joannalowellauthor

Aidan MacColl is starring as Leonardo in Pop Off, Michelangelo! at Underbelly Boulevard Soho.Written by Dylan MarcAurele, Pop Off, Michelangelo! premiered at last year's Edinburgh Fringe Festival to huge acclaim and went on to play some concert performances at The Other Palace. The show follows childhood friends Michelangelo and Leonardo da Vinci as they navigate art, ambition and forbidden love in Renaissance Italy by becoming the greatest religious artists of all time.Aiden has performed in various pantomimes and at sea onboard multiple cruise ships. Pop Off, Michelangelo! marks their London musical debut. In this episode Aiden discusses the journey of Pop Off, Michelangelo!, what the show means to them and their journey in this industry so far - plus lots more along the way. Pop Off, Michelangelo! has extended its run at Underbelly Boulevard Soho to 13th July. Visit www.underbellyboulevard.com for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Step into the ultimate power playbook with this insightful episode of the Jeremy Ryan Slate Show! In "Machiavelli's Power Playbook: Lessons from The Prince," we take a deep dive into the cunning strategies of Cesare Borgia, Niccolò Machiavelli's muse for his timeless masterpiece, *The Prince.* This critical examination unpacks the rise and fall of Borgia, a warlord who dazzled Machiavelli with his ruthless brilliance but ultimately fell victim to misfortune and over-reliance on his father, Pope Alexander VI. Was Cesare the perfect prince or a cautionary tale in what not to do?Join me, Jeremy Ryan Slate—CEO of Command Your Brand and a passionate advocate for liberty and freedom—as we explore Machiavelli's unique perspective on power, from Renaissance Italy's chaotic city-states to the modern political and corporate landscapes of 2025. We'll uncover how Machiavelli's principles, from "better to be feared than loved" to hedging against Fortuna, shape today's leaders, CEOs, and even election strategies. This must-watch episode challenges you to question who's pulling the strings in your world and how you can control your own narrative.Let's spark a conversation! What lessons can we take from Machiavelli and Cesare Borgia in navigating power, politics, and life today? Drop your thoughts in the comments, hit the like button, and subscribe for more episodes that dive deep into history's greatest minds. Ready to command your own brand of power? Follow along and stay tuned for more thought-provoking content. Don't miss out—your journey to mastering modern power begins here.#cesareborgia #thelifeofcesareborgia #popealexandervi #machiavelli #darksideofgoodness___________________________________________________________________________⇩ SUPPORT OUR SPONSORS ⇩THE WELLNESS COMPANY: Health without the propaganda, emergency medical kits before you need it. Get 15% off now by using our link: https://twc.health/jrsCOMMAND YOUR BRAND: Legacy Media is dying, we fight for the free speech of our clients by placing them on top-rated podcasts as guests. We also have the go-to podcast production team. We are your premier podcast agency. Book a call with our team https://www.commandyourbrand.com/book-a-call MY PILLOW: By FAR one of my favorite products I own for the best night's sleep in the world, unless my four year old jumps on my, the My Pillow. Get up to 66% off select products, including the My Pillow Classic or the new My Pillow 2.0, go to https://www.mypillow.com/cyol or use PROMO CODE: CYOL________________________________________________________________⇩ GET MY BEST SELLING BOOK ⇩Unremarkable to Extraordinary: Ignite Your Passion to Go From Passive Observer to Creator of Your Own Lifehttps://getextraordinarybook.com/________________________________________________________________DOWNLOAD AUDIO PODCAST & GIVE A 5 STAR RATING!:APPLE: https://podcasts.apple.com/us/podcast/the-create-your-own-life-show/id1059619918SPOTIFY: https://open.spotify.com/show/5UFFtmJqBUJHTU6iFch3QU(also available Google Podcasts & wherever else podcasts are streamed_________________________________________________________________⇩ SOCIAL MEDIA ⇩➤ X: https://twitter.com/jeremyryanslate➤ INSTAGRAM https://www.instagram.com/jeremyryanslate➤ FACEBOOK: https://www.facebook.com/jeremyryanslate_________________________________________________________________➤ CONTACT: JEREMY@COMMANDYOURBRAND.COM

Benedetta Carlini, Lesbian Nun The Lesbian Historic Motif Podcast - Episode 314 with Heather Rose Jones In this episode we talk about: The historic and religious context of Benedetta's life Benedetta's sexual encounters Sources mentioned Brown, Judith C. 1984. “Lesbian Sexuality in Renaissance Italy: The Case of Sister Benedetta Carlini” in Signs 9 (1984): 751-58. (reprinted in: Freedman, Esteele B., Barbara C. Gelpi, Susan L. Johnson & Kathleen M. Weston. 1985. The Lesbian Issue: Essays from Signs. The University of Chicago Press, Chicago. ISBN 0-2256-26151-4) Brown, Judith C. 1986. Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. Oxford University Press, New York. ISBN 0-19-504225-5 Holler, Jacqueline. 1999. “'More Sins than the Queen of England': Marina de San Miguel before the Mexican Inquisition” in Women in the Inquisition: Spain and the New World, ed. Mary E. Giles. Johns Hopkins University Press, Baltimore. ISBN 0-8018-5931-X pp.209-28 Matter, E. Ann. 1989. “My Sister, My Spouse: Woman-Identified Women in Medieval Christianity” in Weaving the Visions: New Patterns in Feminist Spirituality, eds. Judith Plaskow & Carol P. Christ. Harper & Row, San Francisco. Watt, Diane. 1997. “Read My Lips: Clipping and Kyssyng in the Early Sixteenth Century” in Queerly Phrased: Language, Gender, and Sexuality, ed. Anna Livia and Kira Hall. New York, Oxford University Press. ISBN 0-19-510471-4 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Benedetta Carlini A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

Send us a textNiccolo Machiavelli is often held up as the paradigmatic political philosopher of the Italian Renaissance. But as James Hankins argued in an earlier book, Virtue Politics, Machiavelli in fact repudiates the framework common to many of the humanists of the Renaissance. Machiavelli is an outlier. Who then can replace him as the Renaissance's paradigmatic political philosopher? In his new book, Political Meritocracy in Renaissance Italy, Hankins proposes the little-known Francesco Patrizi, friend and protege of Pope Pius II, as Machiavelli's replacement. Hankins joins the show to make his case for Patrizi as emblematic of Renaissance political philosophy and to explain some aspects of Patrizi's life and thought.James Hankins's Political Meritocracy in Renaissance Italy: https://bookshop.org/a/25626/9780674274709James Hankins's Virtue Politics: https://amzn.to/4d0f0buAdrian Wooldridge's Aristocracy of Talent: https://bookshop.org/a/25626/9781510775558The Patrizi Project: https://patrizisiena.hsites.harvard.edu/Nate Fischer's Meritocracy Must Not Be Our Goal: https://americanmind.org/salvo/meritocracy-must-not-be-our-goal/James Hankins and Allen Guelzo's The Golden Thread: https://www.amazon.com/Golden-Thread-Ancient-World-Christendom/dp/1641773995New Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

Trivia time!!! Since this week was the debut of "Fake People, Real Trivia, our AI trivia show hosted by the SherpaLu Studio Players. We figured we'd celebrate by previewing another episode to check out. But you can subscribe to it on podcast apps and the Sherpalution YouTube page. In this episode of Fake People, Real Trivia, explore the fascinating history of knives, spoons, and forks—three essential dining utensils. We'll trace the origins of knives from prehistoric survival tools to modern tableware, highlighting cultural shifts in dining etiquette, including the Middle Ages and anedict from King Louis XIV against sharp knives. Turning to spoons, their evolution from basic wooden versions to ornate metal designs used in ceremonies by the affluent of ancient Greece and Rome. Also, the intriguing journey of forks, from their scandalous association in Renaissance Italy to becoming a staple in households worldwide. Overall, it's a reflect on how societal changes and industrialization have democratized these utensils, making them accessible to all. Listeners are invited to participate by submitting trivia questions, blending entertainment and knowledge.Our sources:https://gizmodo.com/the-history-of-knives-forks-and-spoons-1440558371https://www.foodunfolded.com/article/invention-of-the-fork-how-did-forks-come-to-behttps://www.eatingutensils.net/history-of-cutlery/timeline-of-eating-utensils/Credits: Produced, Arranged, Lyrics( poorly written) for show music: Jim The Podcast SherpaFollow us on social media and YouTube @Sherpalution Send questions to jimthepodcastsherpa@gmail.comThis podcast was created mostly (Cover Art, Music, Voices, Show Notes) using artificial intelligence. Most likely because our human lacks real intelligence. Hosted on Acast. See acast.com/privacy for more information.

Guest:Sam Foster 

Guest:Sam Foster 

A fascinating firsthand account of a Soul's past lives.In this compelling read, Dr. Lilan Laishley demonstrates how to make a connection with your Soul through an exploration of past lives, and how that can give purpose to your present life. Learn how karmic patterns are created and cleared, and discover how the knowledge and skills you gained in prior rebirths are accessible to you through the Soul's memory. She does this through sharing her past lives as a healer, shaman, herbalist, and witch during eight lifetimes – from ancient Atlantis to Renaissance Italy.BioLilan Laishley has a PhD. in Religious Studies from the University of Pittsburgh (USA) with a concentration on symbol, ritual, and cosmology. As a university professor she has traveled the world investigating sacred sites, teaching religion, and presenting papers at academic conferences. She has a Master's Degree in Counseling from Hunter College (USA) with a focus on Jungian psychology and past life therapy. She is a founding member and former Director of Research for The Labyrinth Society. She is also a consulting and teaching Astrologer for 40 years.https://www.amazon.com/dp/B0DGW11WC4https://laishley.com/ https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife

A fascinating firsthand account of a Soul's past lives.In this compelling read, Dr. Lilan Laishley demonstrates how to make a connection with your Soul through an exploration of past lives, and how that can give purpose to your present life. Learn how karmic patterns are created and cleared, and discover how the knowledge and skills you gained in prior rebirths are accessible to you through the Soul's memory. She does this through sharing her past lives as a healer, shaman, herbalist, and witch during eight lifetimes – from ancient Atlantis to Renaissance Italy.BioLilan Laishley has a PhD. in Religious Studies from the University of Pittsburgh (USA) with a concentration on symbol, ritual, and cosmology. As a university professor she has traveled the world investigating sacred sites, teaching religion, and presenting papers at academic conferences. She has a Master's Degree in Counseling from Hunter College (USA) with a focus on Jungian psychology and past life therapy. She is a founding member and former Director of Research for The Labyrinth Society. She is also a consulting and teaching Astrologer for 40 years.https://www.amazon.com/dp/B0DGW11WC4https://laishley.com/ https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife

Michelangelo made religion sexy.That may not have been his initial aim, of course, but the way he portrayed the human form, and particularly the male form, was extremely beautiful.How did his devout Catholic faith create conflict with his well-known attraction to men? How was it expressed in his incredible artwork? And how was sexuality viewed in Renaissance Italy?Joining Kate today is historian and Michelangelo scholar at Stanford University, Sarah Prodan, to help us get to know this man better. You can find out more about Sarah's work here: https://www.sarahprodan.com/This episode was edited by Tom Delargy and produced by Stuart Beckwith. The senior producer was Charlotte Long.If you'd like to get in touch with the show you can contact us at betwixt@historyhit.com.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast.

Tarot card reading was once a pastime of Renaissance Italy aristocrats. But now, Gen Z are seeking guidance with social media driving an increase to its popularity.To discuss, Seán is joined by Amanda Healy, who is a Tarot card reader based in George's Street Arcade Dublin.

“This is the model of Italian Renaissance banking.”In this episode of Seize & Desist, host Aidan Larkin sits down with renowned financial crime journalist Oliver Bullough, author of Moneyland (2019) and Butler to the World (2022), to discuss why global money laundering continues to be an uphill battle despite decades of international effort.Aidan and Oliver explore the roots and evolution of money laundering, from the Medici's of Renaissance Italy to the offshore shell companies of the Caribbean and the digital currencies of the future.They also touch upon the UK's pivotal role in facilitating illegal financial flows, the advent of hawala banking networks and the systemic challenges that impede effective asset recovery.Timestamps00:00 - Exploring the UK's Role in Money Laundering and Corruption03:54 - Complex Global Money Laundering Challenges11:23 - The Evolution of Value Transfer Systems Through History16:06 - Rethinking Financial Crime Compliance22:32 - Money Laundering's Influence on Global Crime26:41 - The Role of Cash and Crypto in Crime Networks30:45 - The Global Fight Against Money Laundering38:28 - Recovering Covid-Related Fraud Payments42:04 - Combating Corruption and Money LaunderingResources MentionedOliver Bullough on The Guardian https://www.theguardian.com/profile/oliverbullough Books by Oliver Bullough:Moneyland (2019)- https://amzn.eu/d/ezB43Rv Butler to the World (2022) - https://amzn.eu/d/gaqVRE9 About our GuestOliver Bullough is an award-winning journalist and author of Moneyland (2019) and Butler to the World (2022). He is known for his in-depth reporting on offshore finances and the role of the UK in facilitating corruption, with his work regularly being featured in the Guardian, the New York Times, GQ magazine, the Economist, and other places. DisclaimerOur podcasts are for informational purposes only. They are not intended to provide legal, tax, financial, and/or investment advice. Listeners must consult their own advisors before making decisions on the topics discussed. Asset Reality has no responsibility or liability for any decision made or any other acts or omissions in connection with your use of this material.The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent. Views and opinions expressed by Asset Reality employees are those of the employees and do not necessarily reflect the views of the company. Asset Reality does not guarantee or warrant the accuracy, completeness, timeliness, suitability or validity of the information in any particular podcast and will not be responsible for any claim attributable to errors, omissions, or other inaccuracies of any part of such material. Unless stated otherwise, reference to any specific product or entity does not constitute an endorsement or recommendation by Asset Reality.

Travel back to Renaissance Italy with the Earth Station Who Podcast as we review the classic Doctor Who story, "The Masque of Mandragora." Join Mike, Mike, and Mary as they explore the Fourth Doctor's battle with the Mandragora Helix, Sarah Jane's adventures in a historical setting, and the story's stunning mix of science fiction and period drama. Discover behind-the-scenes insights, memorable moments, and how this 1976 serial continues to captivate fans. Tune in for a lively discussion about one of the most intriguing tales in Doctor Who history! Subscribe now to Earth Station Who for more Doctor Who episode reviews, news, and discussions, and join the conversation with fellow fans! Links Listen to older episodes of the Earth Station Who Podcast ESW on iTunes Earth Station Who on Spotify Earth Station Who on Instagram Earth Station Who on Facebook Earth Station Who on YouTube Make-A-Wish Foundation The ESO Network TeePublic Store The ESO Network Patreon Bat Chums piecesofmelee Tales of Hollywoodland Promotion Earth Station Trek If you would like to leave feedback or comment, feel free to email us at feedback@earthstationwho.com DoctorWhoTheMasqueofMandragora #ClassicDoctorWhostoryreview #FourthDoctorTomBaker #SarahJaneSmithcompanion #MandragoraHelixplot #DoctorWhoRenaissanceItaly #HistoricalDoctorWhoepisodes #1976DoctorWhoserial #ClassicDoctorWhoadventures #DoctorWhopodcastreview #EarthStationWhoPodcast #DoctorWhoFourthDoctorera #BestDoctorWhoclassicepisodes #BehindthescenesDoctorWho #DoctorWhodiscussions

Travel back to Renaissance Italy with the Earth Station Who Podcast as we review the classic Doctor Who story, “The Masque of Mandragora.” Join Mike, Mike, and Mary as they explore the Fourth Doctor’s battle with the Mandragora Helix, Sarah Jane’s adventures in a historical setting, and the story’s stunning mix of science fiction and […] The post Unmasking the Mystery: A Review of Doctor Who's The Masque of Mandragora | The Earth Station Who Podcast appeared first on The ESO Network.

In the 15th and early 16th centuries, one Spanish family rose to exert its influence over Renaissance Italy - the Borgias. Deploying diplomacy, marriage alliances and military force to advance their interests, the Borgias' meteoric ascent was accompanied by stories of incest, murder, and debauchery. But how true were the rumours? All this month on Not Just the Tudors, Professor Suzannah Lipscomb is discovering how the Borgias pushed at the boundaries of acceptable behaviour for Renaissance rulers. She is joined in this episode by Dr. Katharine Fellows to consider the Borgias' rise to the pinnacle of European power. Presented by Professor Suzannah Lipscomb. The researcher is Alice Smith, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.Theme music from All3Media. Other music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://uk.surveymonkey.com/r/6FFT7MK

For the Season 9 finale, Paul Wright and I discuss Foxes & Lions, a game we are co-designing about the Italian Wars. Are you into Machiavelli, Renaissance Italy, and political chaos? Then this is gonna be a game for you. Keep the Faith: https://www.backerkit.com/call_to_action/ffdefab3-adb6-48aa-8335-797e720c58a1/landing Beyond Solitaire is proudly sponsored by Central Michigan University's Center for Learning Through Games and Simulations, where learning can be both playful and compelling. Check them out here: https://www.cmich.edu/academics/colleges/liberal-arts-social-sciences/centers-institutes/center-for-learning-through-games-and-simulationsCheck out CMU's game offerings here: https://cmichpress.com/shop/Sign up for an online game design class here: https://www.cmich.edu/academics/colleges/liberal-arts-social-sciences/centers-institutes/center-for-learning-through-games-and-simulations/certificate-in-applied-game-designAll episodes of my podcast are available here: https://beyondsolitaire.buzzsprout.com/Beyond Solitaire Merch: https://sirmeeple.com/collections/beyond-solitaireEnjoy my work? Consider supporting me on Patreon at https://www.patreon.com/beyondsolitaire or getting me a "coffee" on Ko-fi! https://ko-fi.com/beyondsolitaireContact Me: Email: beyondsolitaire at gmail.comTwitter: @beyondsolitaireInstagram: @beyondsolitaireFacebook: www.facebook.com/beyondsolitaireWebsite: www.beyondsolitaire.net

Many months ago now, I had the chance to go to the WNDR Museum in Boston. If you google that, it will come categorized as a “tourist attraction.” but it is a lot more than that, especially considering that I wouldn't classify myself as a “tourist” since I live outside of Boston. More specifically, and even importantly, WNDR is an interactive art museum with immersive art installations. And it was very interactive and immersive. There were a lot of great exhibits that invited you to engage and become surrounded by the creations that were provided there. Whether you are a tourist or not, it is definitely worth a visit.So it was a very pleasant surprise to find that my guest today actually had an installation at the WNDR Museum. It was this very cool outdoor-type of building where you could be with others and experience an audio and visual immersion of rain and lightning. One of the fun things about it was that you were there with strangers, basically arranged in a way that you were experiencing it together. I didn't know that when I first met Leigh Sachwitz to discuss being on the show. But it was one of the, dare I say, “wonderful” things I found out about Leigh and her work with her Berlin-based company flora&faunavisions (FFV). I got to learn about their award-winning work on projects like the Ring Cycle, a digital opera that creates an immersive experience of the work by Richard Wagner. I also learned about her work on the Utopian Garden, described as a story-based immersive, interactive show where participants can tour the world. She described their Flying Up Sparrows event in China, where Buddhist paintings were brought to life.Finally, she explains their work behind the Genius DaVinci Show that just opened up in Florida this past November. “This exhibition invites you to step into Renaissance Italy to explore Leonardo da Vinci's masterpieces and inventions up close.” And the great thing about this is the way that educational and entertainment come together to form what Hip Hop artist KRS-One described as “Educatinment.” Or, in Leigh's words, how do you create experiences that draw people into the moment and produce, empathy, emotional connection, and curiosity. We covered a lot of other ground, including the science of immersive experiences, how we can co-create our futures together using these kinds of experiences as a prompt, how we can inspire our imaginations to unlock the possibilities of ourselves, and the intersection of Detroit and Berlin as hubs of techno music.  Leigh Sachwitz - http://leighsachwitz.com/flora&faunavisions - https://www.florafaunavisions.de/

On this episode of the Crazy Wisdom Podcast, host Stewart Alsop interviews Tim Bajarin, Chairman of Creative Strategies, Inc., for a fascinating exploration of the evolution of technology. The conversation spans Tim's early career during the dawn of personal computing in the 1980s, historical reflections on pivotal inventions like Gutenberg's printing press, the legacy of Xerox PARC, and the rise of Apple's graphical interface and desktop publishing. They also discuss the human dynamics of innovation, from the tight-knit tech communities of Silicon Valley to parallels with historic institutions like the Royal Society. For more insights into Tim Bajarin's ongoing work, you can explore his articles on Forbes or visit Creative Strategies at creativestrategies.com.Check out this GPT we trained on the conversation!Timestamps00:00 Introduction and Guest Background00:54 Entering the PC Market in the 1980s05:39 Historical Context and Technological Evolution13:21 The Impact of Desktop Publishing24:54 The Role of Historical Knowledge in Technology38:12 The Influence of British Technological Advancements47:30 Conclusion and Final ThoughtsKey InsightsThe Historical Context of Innovation is Crucial for Understanding Technology's Future: Tim Bajarin emphasizes that to forecast the future of technology, one must understand its historical roots. His career as an analyst has been informed by studying transformative moments like Gutenberg's printing press and innovations in the 1800s, including the Royal Society's influence on science and technology. This perspective underscores how historical breakthroughs set the stage for modern advancements.The Birth of Personal Computing Was a Collaborative Effort: Bajarin's entry into the tech industry coincided with the IBM PC launch in 1981. He became one of the first PC analysts, working with companies like Compaq, Dell, and Apple. The development of personal computing was fueled by close-knit communities of engineers and innovators who shared ideas, much like the collaborative environment of historical groups like the Royal Society.Xerox PARC's Innovations Were the Bedrock for Modern Computing: The role of Xerox PARC in shaping today's computing landscape is highlighted as pivotal. Bajarin recounts their invention of the graphical user interface (GUI) and the mouse, which were foundational for Apple's Mac. Although Xerox didn't capitalize on these ideas, their contributions enabled Steve Jobs and others to build the computing paradigms we use today.Desktop Publishing Revolutionized Communication and Creativity: Bajarin predicted the desktop publishing boom, thanks to innovations like Apple's laser printer, PageMaker software, and PostScript technology. These advancements transformed the publishing industry, allowing individuals and small businesses to create professional-quality content, democratizing access to creative tools.Steve Jobs' Return to Apple Marked a Turning Point in Design and Vision: When Steve Jobs returned to Apple in 1997, the company was near bankruptcy. Bajarin describes how Jobs refocused Apple on its core customers, introduced innovative industrial design, and created products like the colorful iMac. This redefined how consumers viewed computers, blending functionality with aesthetic appeal and cementing Apple's market position.The Evolution of Technology is Driven by Both Process and Innovation: Bajarin explains how every major technological leap, from the printing press to the PC, has involved the convergence of innovative devices and refined processes. For instance, advancements in printing presses during the 1800s mirrored the systematic innovations in the tech industry during the 1980s and 1990s.The Role of Community and Networks in Driving Innovation: The episode draws a parallel between the 1980s tech clubs in Silicon Valley and earlier knowledge-sharing networks, such as the letter-writing analysts of Renaissance Italy or the Royal Society. Bajarin illustrates how communities of like-minded individuals, whether in tech or science, have always been instrumental in fostering innovation.

Giulia Tofana is known for inventing the deadly (and untraceable) poison known as Aqua Tofana, which was the most feared cause of death by men living in Renaissance Italy. She exclusively sold her poisons to women trapped in abusive or loveless marriages, freeing them from their servitude and/or existence as their husbands' property. — A Broad is a woman who lives by her own rules. Broads You Should Know is the podcast about the Broads who helped shape our world! BroadsYouShouldKnow.com YT/IG/FB @BroadsYouShouldKnow & TW @BYSKpodcast — 3 Ways you can help support the podcast: Write a review on Apple Podcasts Share your favorite episode with a friend or on social Send us an email with a broad suggestion, question, or comment at BroadsYouShouldKnow@gmail.com — Broads You Should Know is hosted by Sara Gorsky. IG: @SaraGorsky Web master / site design: www.BroadsYouShouldKnow.com — Broads You Should Know is produced by Sara Gorsky, with editing by Chloe Skye, and original music by Darren Callahan.  

From the 12th century to Renaissance, the Ordelaffi family ruled the commune of Forli, in Northern Italy. On and off. Also, on and off again. When they weren't fighting others for the commune -- Florence, the Emperor, the Pope -- they were fighting each other, and in 1376, poison became a favorite weapon, when Sinibaldi I Ordelaffi poisoned first his uncle and then his cousin, so that he could have Forli. He's not even our protagonist, though, because we lit, for this episode, on Pino III Orderlaffi, who started poisoning wives, a sibling, and his mom, and is therefore sort of iconic in the history of Ordelaffi badnesses. Michelle loved this episode, cause she got to learn all about poison in medieval and Renaissance Italy. She will tell you all about it.

Why not buy a board game from our sponsors Kienda: kienda.co.uk/polyhedroncollider Warning: This podcast contains strong language and adult content  Episode 155 is a bit of a Kickstarter Special as the boys discuss Vrahode, a fantasy adventure game with stunning miniatures and a fancy player console. Mutagen, a worker placement game where your workers mutate and the meeples gain little rubber gloves to match. And finally, Sid and Rory embark on a Timeless Journey in a clever hand management and action programming game in Renaissance Italy. Games Mentioned 00:10:25 Vrahode: Age of Prophecy https://www.kickstarter.com/projects/weathervanegames/vrahode-age-of-prophecy  00:32:25 Mutagen https://www.kickstarter.com/projects/drandagames/mutagen 00:48:23 Timeless Journeys: The Italian Grand Tour https://www.kickstarter.com/projects/liriusgames/timeless-journeys-the-italian-grand-tour 01:05:30 Expansions 01:09:23 The Top 100 Challenge ⭐Show Sponsor: Kienda When you sign up to an account with Kienda use this link to bag yourself a wee discount and help support the show.  Let's face it, you were going to buy a board game anyway

In episode three of Saturn's Bankers, we delve into the hidden world of the Greco-Roman financial elite, uncovering the shadowy figures who operated behind the scenes to manipulate and ultimately collapse the empires through debt. The episode reveals how these early bankers, often overlooked by history, emerged from secretive, powerful families who slowly wove their influence into the very fabric of these mighty civilizations. But who were they really? Where did they come from? And what relationship if any do they have to the elites who would surface later on in Renaissance Italy during the 14th century? Prepare for a thrilling journey into the dark corridors of power, as we reveal how Saturn's bankers held the reins of empire, and how their legacy of control through debt continues to echo through history. The truth is far stranger—and more chilling—than you might think. Enjoy The Show? Part 2 for Members - www.parallelmike.com Mike's Investing Community and Financial Newsletter – www.patreon.com/parallelsystems Consult with Mike 1-2-1 - www.parallelmike.com/consultation

Die Borgia sind zum Inbegriff der machthungrigen, korrupten und skrupellosen Fürsten der Renaissance geworden. Im Mittelpunkt stehen ein Papst (Alexander VI.) und zwei seiner unehelichen Kinder: Während Cesare zum Vorbild für den Machiavellismus wurde, nach dem zum Erhalt politischer Macht jedes Mittel recht ist, wurde seine jüngere Schwester Lucrezia zum Spielball der Politik ihres Vaters. Dreimal wurde sie verheiratet und landete schließlich als Herzogin in Ferrara. Bekannt ist sie aber bis heute als dämonische und unberechenbare Giftmischerin, was vor allem auf Victor Hugo und eine Oper zurückzuführen ist. Wir sprechen in der Folge darüber, wie es dazu kam, dass die Borgia so einen schlechten Ruf haben und warum die aus Spanien stammende Familie ihre Macht in Italien nach kurzer Zeit wieder verlor. // Literatur - Sarah Bradford. Lucrezia Borgia: Life, Love and Death in Renaissance Italy, 2005. - Friederike Hausmann. Lucrezia Borgia: Glanz und Gewalt, 2019. // Erwähnte Folgen - GAG366: Das Attentat von Anagni – https://gadg.fm/366 - GAG430: Gefangene und Königin – Johanna I. von Kastilien – https://gadg.fm/430 - GAG265: Syphilis und die Tuskegee-Syphilis-Studie – https://gadg.fm/265 - GAG447: Christina, Hans und Heinrich oder Wie ein Gemälde entsteht – https://gadg.fm/447 - GAG429: Der Eimerkrieg – https://gadg.fm/429 //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr Euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

 Dive into a fascinating discussion blending the worlds of literature, gaming, and tech. In this episode, Chuck and Dan explore the intriguing connections between The Hobbit and The Lord of the Rings, including an extraordinary tale about Israeli pilots translating The Hobbit during wartime. They share insights into Guy Gavriel Kaye's standalone novel Tigana, inspired by Renaissance Italy, and discuss the complexities and strategies of board games like Monopoly and Letters from Whitechapel.But that's not all. The episode takes a technical turn as the speakers delve into the dynamic world of application monitoring with Prometheus. They unpack the mechanics of event loop lag, heap usage, and GC storms, and share how Prometheus's query language (PromQL) and integration with Grafana can proactively manage and solve performance issues. Hear about real-time alerting, sophisticated querying, and the practical applications of these tools in companies like Next Insurance and Sisense.This episode is packed with information - from managing performance metrics and alerting systems to insightful discussions on favorite standalone fantasy novels and the productivity hacks that keep our hosts on top of their game. So, sit back and join us for an engaging and informative session on Top End Devs!SocialsLinkedIn: Chuck WoodLinkedIn: Dan ShappirPicksCharles - Letters from Whitechapel | Board GameCharles - TrainingPeaks | Empower Your TrainingBecome a supporter of this podcast: https://www.spreaker.com/podcast/javascript-jabber--6102064/support.

In episode 73 we are joined by Phillip Jimenez to discuss the banking oligarchs of Renaissance Italy often referred to as the Black Nobility. Our guest explains how these powerful families, some with lineages going back over 2000 years continue wield tremendous power. More power in fact than many of the more commonly cited names such as the Warburg's or Rothschilds. This in Phillips opinion is part of the illusion. The reality is these 15th and 16th century oligarchies are ruling from the shadows, controlling finance, commerce and geopolitics moreover. As part of our series Saturn's Bankers we recently discussed the Venetians, and in this episode we extend on that conversation to add further color to the narrative. Enjoy The Show? Part 2 for Members - www.parallelmike.com Mike's Investing Community and Financial Newsletter – www.patreon.com/parallelsystems Consult with Mike 1-2-1 - www.parallelmike.com/consultation Guest Links Website - https://www.youtube.com/@RetroResearch

Learn how the U.S. military was involved in the development of hairspray, why redheads are so prevalent in Pre-Raphaelite paintings, and the surprising way women in Renaissance Italy used to dye their hair in this fascinating interview with hair historian Rachael Gibson. We also talk about hair as a symbol of resistance, the evolution of the modern salon business, how technological advancements inspire new looks, and why hair trends often come back around.Episode recap with links: fatmascara.com/blog/rachael-gibsonProducts mentioned in this episode: shopmy.us/collections/691996Sponsor links & discount codes: fatmascara.com/sponsorsPrivate Facebook Group: Fat Mascara Raising a WandTikTok & Instagram: @fatmascara, @jenn_edit, @jessicamatlinSubmit a "Raise A Wand" product recommendation: email info@fatmascara.com or text us or leave a voicemail at 646-481-8182 Become a member at https://plus.acast.com/s/fatmascara. Hosted on Acast. See acast.com/privacy for more information.

It is time to open the next chapter of our dive into Renaissance history, dialing back to look at the early Renaissance and the Proto-Renaissance. The terminology of periodization is loose and malleable, and brings to light of other renaissances that occurred throughout the Middle Ages. What is the difference between the way classical revival was exercised from the 8th and 12th centuries, and the world of Renaissance Italy? This episode provides the fundaments of the earliest years of the Renaissance in Florence. The discussion links the literary developments of Dante, Petrarch and Boccaccio to the art developments of Cimabue and Giotto. Did the Black Death, that devastating plague that swept through Italy in 1348, have an impact on intellectual development? What did the early phases of Humanism look like, before the late 15th century?  Images uploaded to Instagram @italian_renaissance_podcast Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the Show.

Roman Catholic exorcists in the Middle Ages called on the authority of Lucifer, Beelzebub and Satan to remove lower demons from the body of a possessed person. Magicians also call on these demons, but for very different reasons. This deep dive explores what modern exorcists say about demonic hierarchies, the medieval manuscripts from Catholic exorcists, the grimoire traditions, the Gospel of Matthew and much more. ⇓ ⇓ ⇓►

Medieval citizens took steps to actively avoid living in filth. But how did they accomplish it? What were some of the ground rules? And how did this change when your city was also surrounded by water? This week, Danièle speaks with Jane Stevens Crawshaw about environmental policies in fourteenth and fifteenth-century Genoa and Venice.You can support this podcast on Patreon - go to https://www.patreon.com/medievalists

Directed by Art Manke and designed by Lindsay Jones, Amy Freed's translation of “The Taming of the Shrew” pits the two smartest people in the room against each other in a match of wits to tame the society that surrounds them. Set in Renaissance Italy with a cast of seasoned pros including Allen Gilmore, Susannah Rogers, Danny Scheie, Annie Abrams, Mike McShane, Rob Nagle, Tessa Auberjonois, Kasey Mahaffy, Kyle Hester, Tom Patterson and J.Paul Boehmer. Learn more about your ad choices. Visit megaphone.fm/adchoices

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