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21 string Harp Guitar - Harpborough Fair. Harp guitars, defined by having extra unfretted "floating" strings alongside a standard neck, originated in Europe during the late 17th to late 18th centuries, with experiments dating back to 1659. Musician: Javier Rubio Carballo.

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Origins of Whole Lotta Love, Jimmy Page came up with the guitar riff for "Whole Lotta Love" in the summer of 1968, on his houseboat on the River Thames at Pangbourne, Berkshire, England. However, John Paul Jones stated that it probably was developed from a live improvisation during performances of Dazed and Confused. Page denied that the song originated onstage and that he had the riff and the rest took it from there. The chugging riff sounds like twin guitars because Page is playing two guitar strings in unison, while bending one of them to slightly change the pitch. At the same time, John Paul Jones is using the same technique on bass guitar, doubling the guitar part in a lower octave. Page recorded his part while playing through a solid-state amplifier. During the two day mix of the Led Zeppelin II album, audio engineer Eddie Kramer discovered what he thought was some magnetic tape bleedthrough on Plant's vocals on the "Whole Lotta Love" track, which could not be removed, so he put some echo on it, and Page liked the sound. Page also employed a backwards echo production technique. Years later, engineer J. J. Blair analyzed the multi-track tape and found that the second guitar track contained traces of an earlier vocal track by Plant caused by microphonic induction of the guitar pickup. This thin-sounding vocal preceded the main vocal track in a manner similar to bleedthrough. It was released as a single in 1969 in several countries; as with other Led Zeppelin songs, no single was released in the United Kingdom. In the United States, it became their first hit and was certified gold. Parts of the song's lyrics were adapted from Willie Dixon's "You Need Love", recorded by Muddy Waters in 1962; originally uncredited to Dixon, a lawsuit in 1985 was settled with a payment to Dixon and credit on subsequent releases. Led Zeppelin performing 'Whole Lotta Love' live at The Royal Albert Hall, in 1970.
6:17

Origins of Whole Lotta Love, Jimmy Page came up with the guitar riff for "Whole Lotta Love" in the summer of 1968, on his houseboat on the River Thames at Pangbourne, Berkshire, England. However, John Paul Jones stated that it probably was developed from a live improvisation during performances of Dazed and Confused. Page denied that the song originated onstage and that he had the riff and the rest took it from there. The chugging riff sounds like twin guitars because Page is playing two guitar strings in unison, while bending one of them to slightly change the pitch. At the same time, John Paul Jones is using the same technique on bass guitar, doubling the guitar part in a lower octave. Page recorded his part while playing through a solid-state amplifier. During the two day mix of the Led Zeppelin II album, audio engineer Eddie Kramer discovered what he thought was some magnetic tape bleedthrough on Plant's vocals on the "Whole Lotta Love" track, which could not be removed, so he put some echo on it, and Page liked the sound. Page also employed a backwards echo production technique. Years later, engineer J. J. Blair analyzed the multi-track tape and found that the second guitar track contained traces of an earlier vocal track by Plant caused by microphonic induction of the guitar pickup. This thin-sounding vocal preceded the main vocal track in a manner similar to bleedthrough. It was released as a single in 1969 in several countries; as with other Led Zeppelin songs, no single was released in the United Kingdom. In the United States, it became their first hit and was certified gold. Parts of the song's lyrics were adapted from Willie Dixon's "You Need Love", recorded by Muddy Waters in 1962; originally uncredited to Dixon, a lawsuit in 1985 was settled with a payment to Dixon and credit on subsequent releases. Led Zeppelin performing 'Whole Lotta Love' live at The Royal Albert Hall, in 1970.

Rock'n Roll of All

73,864 görüntüleme • 9 ay önce

Origins of Whole Lotta Love, Jimmy Page came up with the guitar riff for "Whole Lotta Love" in the summer of 1968, on his houseboat on the River Thames at Pangbourne, Berkshire, England. However, John Paul Jones stated that it probably was developed from a live improvisation during performances of Dazed and Confused. Page denied that the song originated onstage and that he had the riff and the rest took it from there. The chugging riff sounds like twin guitars because Page is playing two guitar strings in unison, while bending one of them to slightly change the pitch. At the same time, John Paul Jones is using the same technique on bass guitar, doubling the guitar part in a lower octave. Page recorded his part while playing through a solid-state amplifier. During the two day mix of the Led Zeppelin II album, audio engineer Eddie Kramer discovered what he thought was some magnetic tape bleedthrough on Plant's vocals on the "Whole Lotta Love" track, which could not be removed, so he put some echo on it, and Page liked the sound. Page also employed a backwards echo production technique. Years later, engineer J. J. Blair analyzed the multi-track tape and found that the second guitar track contained traces of an earlier vocal track by Plant caused by microphonic induction of the guitar pickup. This thin-sounding vocal preceded the main vocal track in a manner similar to bleedthrough. It was released as a single in 1969 in several countries; as with other Led Zeppelin songs, no single was released in the United Kingdom. In the United States, it became their first hit and was certified gold. Parts of the song's lyrics were adapted from Willie Dixon's "You Need Love", recorded by Muddy Waters in 1962; originally uncredited to Dixon, a lawsuit in 1985 was settled with a payment to Dixon and credit on subsequent releases. Led Zeppelin performing 'Whole Lotta Love' live at The Royal Albert Hall, in 1970.
6:12

Origins of Whole Lotta Love, Jimmy Page came up with the guitar riff for "Whole Lotta Love" in the summer of 1968, on his houseboat on the River Thames at Pangbourne, Berkshire, England. However, John Paul Jones stated that it probably was developed from a live improvisation during performances of Dazed and Confused. Page denied that the song originated onstage and that he had the riff and the rest took it from there. The chugging riff sounds like twin guitars because Page is playing two guitar strings in unison, while bending one of them to slightly change the pitch. At the same time, John Paul Jones is using the same technique on bass guitar, doubling the guitar part in a lower octave. Page recorded his part while playing through a solid-state amplifier. During the two day mix of the Led Zeppelin II album, audio engineer Eddie Kramer discovered what he thought was some magnetic tape bleedthrough on Plant's vocals on the "Whole Lotta Love" track, which could not be removed, so he put some echo on it, and Page liked the sound. Page also employed a backwards echo production technique. Years later, engineer J. J. Blair analyzed the multi-track tape and found that the second guitar track contained traces of an earlier vocal track by Plant caused by microphonic induction of the guitar pickup. This thin-sounding vocal preceded the main vocal track in a manner similar to bleedthrough. It was released as a single in 1969 in several countries; as with other Led Zeppelin songs, no single was released in the United Kingdom. In the United States, it became their first hit and was certified gold. Parts of the song's lyrics were adapted from Willie Dixon's "You Need Love", recorded by Muddy Waters in 1962; originally uncredited to Dixon, a lawsuit in 1985 was settled with a payment to Dixon and credit on subsequent releases. Led Zeppelin performing 'Whole Lotta Love' live at The Royal Albert Hall, in 1970.

Rock'n Roll of All

97,907 görüntüleme • 8 ay önce

Nyckelharpa has existed in one form or another format least 600 years, and is generally considered an instrument of Swedes. Given how Christianity came later to Sweden, its earliest iterations can easily be associated with Norse gods and secular life in the Nordic lands. There were multiple versions of stringed instrument, as it has evolved over time, to today where it could be mistaken for an instrumental marriage between a bowed instrument (violin, viola, cello, bass) and a keyboard such as a piano, harpsichord or perhaps an accordion. It’s unclear exactly what earliest versions of Nyckelharpa looked like. There are just three surviving instruments from 16th Century, but there are earlier depictions of an instrument that resembles the boxy, oblong contraption. Church paintings in Denmark, Sweden and Italy, dating to early 1400s, and later (about 1590) in a church in Hildesheim, Germany, seem to show the instrument. An even older example in ecclesiastical art dates from about 1350 on a carved relief on a gate into Kallunge Church in Gotland, Sweden, which shows what might be two Nyckelharpa players in what we are to assume is a performance of pre-Reformation sacred music (academics stop short of declaring these to be definitively Nyckelharpa). The physical instrument evolved in various iterations over time, as evidenced by addition of strings, now in three rows: the three melody strings, a drone C, and 12 resonance (sympathetic) strings, which were more modern addition (16th Century). The keys, played with the left hand while the right hand bows the strings, serve as frets when a key is depressed. This changes the pitch of the string, similar to what the violinists’ hands do on a violin. The nyckelharpa belongs to the same instrument family as French vielle and the English hurdy gurdy. Nyckelharpa has wooden keys that slide under the strings and have tangents set perpendicularly to the keys that reach up and stop (shorten) melody string. It’s sort of like moveable frets that move to meet the string, rather than pressing the string against a fingerboard or frets. A short bow is used. The oldest “evidence” of nyckelharpa use is a relief on one of the gates to Källunge church on Gotland from about 1350 AD, depicting two nyckelharpa players. There are three surviving examples of medieval nyckelharpa: one found in the town of Mora in Dalarna, Sweden, one found in Vefsen, Norway (it hangs in the Musik Museum in Stockholm); and one found in Esse, Finland. Moraharpa is dated 1526, and hangs in the Zorn Museum in Mora. They have one row of keys (although some keys stop two strings, making them a mix of melody and drone strings) and two drone strings. Moraharpa is shaped like a lute, while the Vefsenharpa and Esseharpa are shaped more like modern nyckelharpa. Recent evidence suggests that Moraharpa was probably built in early 1600’s, using wood that was already about 100 years old. It was likely made as a copy of the picture in the German book (picture forthcoming). So it appears that lute-shaped tradition is broken, while the long/narrow tradition is unbroken. A few people still play this version of the instrument today, including Anders Stake (Anders Norrude) in group “Hedningarna”. Perhaps under the influence of the viola d’amore which was popular in Uppsala and Stockholm in late 1600’s and early 1700’s, resonance strings were added. Sympathetic strings were brought from the near east to England circa 1600, and were thought to be a fashionable innovation. On the nyckelharpa, the resonance strings are set lower in the bridge, so the bow does not touch them. Oldest surviving example of enkelharpa is from 1777. Mixturharpa is similar to enkelharpa, except that 2nd string also has tangents (on the same key at the tangent for the 1st string) that stop the string and make the notes. Not many people today play this version of nyckelharpa, opting for older or younger versions. © American Nyckelharpa Association #archaeohistories
1:37

Nyckelharpa has existed in one form or another format least 600 years, and is generally considered an instrument of Swedes. Given how Christianity came later to Sweden, its earliest iterations can easily be associated with Norse gods and secular life in the Nordic lands. There were multiple versions of stringed instrument, as it has evolved over time, to today where it could be mistaken for an instrumental marriage between a bowed instrument (violin, viola, cello, bass) and a keyboard such as a piano, harpsichord or perhaps an accordion. It’s unclear exactly what earliest versions of Nyckelharpa looked like. There are just three surviving instruments from 16th Century, but there are earlier depictions of an instrument that resembles the boxy, oblong contraption. Church paintings in Denmark, Sweden and Italy, dating to early 1400s, and later (about 1590) in a church in Hildesheim, Germany, seem to show the instrument. An even older example in ecclesiastical art dates from about 1350 on a carved relief on a gate into Kallunge Church in Gotland, Sweden, which shows what might be two Nyckelharpa players in what we are to assume is a performance of pre-Reformation sacred music (academics stop short of declaring these to be definitively Nyckelharpa). The physical instrument evolved in various iterations over time, as evidenced by addition of strings, now in three rows: the three melody strings, a drone C, and 12 resonance (sympathetic) strings, which were more modern addition (16th Century). The keys, played with the left hand while the right hand bows the strings, serve as frets when a key is depressed. This changes the pitch of the string, similar to what the violinists’ hands do on a violin. The nyckelharpa belongs to the same instrument family as French vielle and the English hurdy gurdy. Nyckelharpa has wooden keys that slide under the strings and have tangents set perpendicularly to the keys that reach up and stop (shorten) melody string. It’s sort of like moveable frets that move to meet the string, rather than pressing the string against a fingerboard or frets. A short bow is used. The oldest “evidence” of nyckelharpa use is a relief on one of the gates to Källunge church on Gotland from about 1350 AD, depicting two nyckelharpa players. There are three surviving examples of medieval nyckelharpa: one found in the town of Mora in Dalarna, Sweden, one found in Vefsen, Norway (it hangs in the Musik Museum in Stockholm); and one found in Esse, Finland. Moraharpa is dated 1526, and hangs in the Zorn Museum in Mora. They have one row of keys (although some keys stop two strings, making them a mix of melody and drone strings) and two drone strings. Moraharpa is shaped like a lute, while the Vefsenharpa and Esseharpa are shaped more like modern nyckelharpa. Recent evidence suggests that Moraharpa was probably built in early 1600’s, using wood that was already about 100 years old. It was likely made as a copy of the picture in the German book (picture forthcoming). So it appears that lute-shaped tradition is broken, while the long/narrow tradition is unbroken. A few people still play this version of the instrument today, including Anders Stake (Anders Norrude) in group “Hedningarna”. Perhaps under the influence of the viola d’amore which was popular in Uppsala and Stockholm in late 1600’s and early 1700’s, resonance strings were added. Sympathetic strings were brought from the near east to England circa 1600, and were thought to be a fashionable innovation. On the nyckelharpa, the resonance strings are set lower in the bridge, so the bow does not touch them. Oldest surviving example of enkelharpa is from 1777. Mixturharpa is similar to enkelharpa, except that 2nd string also has tangents (on the same key at the tangent for the 1st string) that stop the string and make the notes. Not many people today play this version of nyckelharpa, opting for older or younger versions. © American Nyckelharpa Association #archaeohistories

Archaeo - Histories

15,692 görüntüleme • 1 yıl önce

Remembering the great Lee Morgan who was born this week in 1938. A prodigy known as the most expressive trumpet virtuoso of the bop idiom and one of its most popular performers, Morgan was a professional musician at age 15, and at 18 he was a featured soloist with the Dizzy Gillespie big band. His attack was aggressive; half-valved, slurred, and stuttered notes lent expressive character to his lines. Emotional complexities, from exuberance to dark moods, were typical of his improvising, as evidenced by his melodic intricacy and great rhythmic poise. He began leading his own recording sessions in the late 1950s, at first exhibiting a style modeled on Clifford Brown’s trumpeting. Even then, however, idiosyncratic elements of phrasing and expression appeared in his playing, elements that were integrated into a personal style during his first tenure with Art Blakey and the Jazz Messengers. Morgan was also part of multi-instrumentalist Rahsaan Roland Kirk’s Jazz and People’s Movement where they organized protests and pickets, specifically targeting major television networks to demand better representation, fair broadcasting opportunities for Black artists, and an end to racist practices in show business. The black liberation movement of the late-60s gave the musician a new, political impulse, and he returned to the jazz scene to become a vociferous campaigner for black musicians’ rights and representation. Here, he is performing “Angela” with Billy Harper on tenor saxophone, Harold Mabern on piano, Jymie Merritt on bass and Freddie Waits on drums live on Soul! in 1972. The tune was composed by bassist Jymie Merritt and is dedicated to Marxist feminist activist and author Angela Davis.
5:15

Remembering the great Lee Morgan who was born this week in 1938. A prodigy known as the most expressive trumpet virtuoso of the bop idiom and one of its most popular performers, Morgan was a professional musician at age 15, and at 18 he was a featured soloist with the Dizzy Gillespie big band. His attack was aggressive; half-valved, slurred, and stuttered notes lent expressive character to his lines. Emotional complexities, from exuberance to dark moods, were typical of his improvising, as evidenced by his melodic intricacy and great rhythmic poise. He began leading his own recording sessions in the late 1950s, at first exhibiting a style modeled on Clifford Brown’s trumpeting. Even then, however, idiosyncratic elements of phrasing and expression appeared in his playing, elements that were integrated into a personal style during his first tenure with Art Blakey and the Jazz Messengers. Morgan was also part of multi-instrumentalist Rahsaan Roland Kirk’s Jazz and People’s Movement where they organized protests and pickets, specifically targeting major television networks to demand better representation, fair broadcasting opportunities for Black artists, and an end to racist practices in show business. The black liberation movement of the late-60s gave the musician a new, political impulse, and he returned to the jazz scene to become a vociferous campaigner for black musicians’ rights and representation. Here, he is performing “Angela” with Billy Harper on tenor saxophone, Harold Mabern on piano, Jymie Merritt on bass and Freddie Waits on drums live on Soul! in 1972. The tune was composed by bassist Jymie Merritt and is dedicated to Marxist feminist activist and author Angela Davis.

The Jazz Estate

20,234 görüntüleme • 1 ay önce

“Europe’s Women Witch Hunts” Every Halloween by Christians, the world dresses as witches... But once, being called one could get you b*rned alive. Between the 1400s and 1700s, Europe went through a mass hysteria that k!lled over 40,000 people and 80% of them women. They were accused of witchcraft, but in truth, many were midwives, herbal healers, and women of knowledge. So why did it happen? During the 13th and 14th centuries, the Church grew increasingly fearful of anything that challenged its authority especially women who held influence or independent knowledge. In 1484, Pope Innocent VIII issued a decree called Summis desiderantes affectibus, declaring that witches were real and worked with the Devil. That single document unleashed centuries of persecution. Religious courts and inquisitions began “hunting witches” across Germany, Switzerland, Scotland, France, and England. The 16th and 17th centuries saw the bloodiest waves with Germany alone executing tens of thousands. The methods were brutal: • Burn!ng at the stake in Germany and France • Hang!ng in England and Scotland • Behead!ng in Switzerland and Scandinavia By the late 1600s, the hysteria reached the Americas, the infamous Salem Witch Trials (1692–1693) in Massachusetts saw 20 people executed and over 200 accused. So from when to how; it was a 300-year nightmare rooted in fear, religion, and control. And centuries later, the same West that once killed women for “magic” now sells it every October in candles, costumes, and pumpkin spice. History has never been so well packaged. 📚 Sources: • Brian P. Levack – The Witch-Hunt in Early Modern Europe (1987) • Malleus Maleficarum (1487) • University of Helsinki – European Witch-Hunt Database (2020) • Smithsonian Magazine
0:45

“Europe’s Women Witch Hunts” Every Halloween by Christians, the world dresses as witches... But once, being called one could get you b*rned alive. Between the 1400s and 1700s, Europe went through a mass hysteria that k!lled over 40,000 people and 80% of them women. They were accused of witchcraft, but in truth, many were midwives, herbal healers, and women of knowledge. So why did it happen? During the 13th and 14th centuries, the Church grew increasingly fearful of anything that challenged its authority especially women who held influence or independent knowledge. In 1484, Pope Innocent VIII issued a decree called Summis desiderantes affectibus, declaring that witches were real and worked with the Devil. That single document unleashed centuries of persecution. Religious courts and inquisitions began “hunting witches” across Germany, Switzerland, Scotland, France, and England. The 16th and 17th centuries saw the bloodiest waves with Germany alone executing tens of thousands. The methods were brutal: • Burn!ng at the stake in Germany and France • Hang!ng in England and Scotland • Behead!ng in Switzerland and Scandinavia By the late 1600s, the hysteria reached the Americas, the infamous Salem Witch Trials (1692–1693) in Massachusetts saw 20 people executed and over 200 accused. So from when to how; it was a 300-year nightmare rooted in fear, religion, and control. And centuries later, the same West that once killed women for “magic” now sells it every October in candles, costumes, and pumpkin spice. History has never been so well packaged. 📚 Sources: • Brian P. Levack – The Witch-Hunt in Early Modern Europe (1987) • Malleus Maleficarum (1487) • University of Helsinki – European Witch-Hunt Database (2020) • Smithsonian Magazine

Saffron Cap 🚩🛕🏹

33,209 görüntüleme • 8 ay önce

When Dora Maar met Pablo Picasso in 1936, Europe was drifting toward war and his personal life was already layered with complexity. Born Henriette Theodora Markovitch to a Croatian architect father and a French mother, Dora was raised between Buenos Aires and Paris and had established herself as a Surrealist photographer before entering Picasso’s orbit. At the time, he remained closely tied to Marie-Thérèse Walter, mother of his daughter, creating an overlapping triangle that shaped the emotional climate of the late 1930s. Dora became deeply involved during the Spanish Civil War and famously documented the creation of Guernica. As World War II and the German occupation tightened around Paris, their relationship unfolded amid scarcity, censorship, and anxiety. By 1943 Picasso had begun a new relationship with Françoise Gilot, and Dora’s role in his life diminished. Her years with him coincided with global upheaval and a period of intense artistic production, but also with a pattern of overlapping attachments that defined Picasso’s private world.
1:15

When Dora Maar met Pablo Picasso in 1936, Europe was drifting toward war and his personal life was already layered with complexity. Born Henriette Theodora Markovitch to a Croatian architect father and a French mother, Dora was raised between Buenos Aires and Paris and had established herself as a Surrealist photographer before entering Picasso’s orbit. At the time, he remained closely tied to Marie-Thérèse Walter, mother of his daughter, creating an overlapping triangle that shaped the emotional climate of the late 1930s. Dora became deeply involved during the Spanish Civil War and famously documented the creation of Guernica. As World War II and the German occupation tightened around Paris, their relationship unfolded amid scarcity, censorship, and anxiety. By 1943 Picasso had begun a new relationship with Françoise Gilot, and Dora’s role in his life diminished. Her years with him coincided with global upheaval and a period of intense artistic production, but also with a pattern of overlapping attachments that defined Picasso’s private world.

Pure Guava

53,458 görüntüleme • 5 ay önce

Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period after 3100 BC. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth). All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum, a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes-plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music. Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals. Ancient Egyptians have long valued music much in their daily life. Performing musicians and vocalists are frequently seen alongside the tunes they played or sang along to in wall reliefs and paintings found in temples and tombs. In addition to musical instruments, a wide range of items decorated with images of musical sceneries have persisted to this day. There are many statues and statuettes of musicians, and the abundance of textual material enables us to determine the performers’ names, the names of their instruments, their repertoires, and the playing styles they employed. The singer Kahay, who was praised for his lovely voice, was one of the artists whose names were also well-known. The harp was not only the most popular musical instrument in ancient Egypt, but it was also shown as one of the sacrifices made to the gods during rituals and processions. Texts indicate that it was decorated with priceless materials. An ebony, gold, and silver harp belonged to King Ahmose. A step farther was taken by Thutmose III, who ordered “a superb harp made with silver, gold, lapis lazuli, malachite, and every splendid precious stone.” Perhaps the easiest method to create music is to sing, clap your hands, or snap your fingers. However, a range of musical instruments, including idiophones and membraphones, as well as wind and stringed instruments, were already in use throughout the ancient Egypt. All of instruments used in ancient Egypt are being used today. There were wind instruments such the shepherd’s pipe, double-pipe, clarinet, flute, oboe, and trumpet, as well as percussion instruments including drums, the sistrum, rattles, tambourines, and later, bells and cymbals. Similar to today, musicians performed them individually or in an ensemble. 🎥© TikTok #archaeohistories
1:09

Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period after 3100 BC. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth). All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum, a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes-plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music. Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals. Ancient Egyptians have long valued music much in their daily life. Performing musicians and vocalists are frequently seen alongside the tunes they played or sang along to in wall reliefs and paintings found in temples and tombs. In addition to musical instruments, a wide range of items decorated with images of musical sceneries have persisted to this day. There are many statues and statuettes of musicians, and the abundance of textual material enables us to determine the performers’ names, the names of their instruments, their repertoires, and the playing styles they employed. The singer Kahay, who was praised for his lovely voice, was one of the artists whose names were also well-known. The harp was not only the most popular musical instrument in ancient Egypt, but it was also shown as one of the sacrifices made to the gods during rituals and processions. Texts indicate that it was decorated with priceless materials. An ebony, gold, and silver harp belonged to King Ahmose. A step farther was taken by Thutmose III, who ordered “a superb harp made with silver, gold, lapis lazuli, malachite, and every splendid precious stone.” Perhaps the easiest method to create music is to sing, clap your hands, or snap your fingers. However, a range of musical instruments, including idiophones and membraphones, as well as wind and stringed instruments, were already in use throughout the ancient Egypt. All of instruments used in ancient Egypt are being used today. There were wind instruments such the shepherd’s pipe, double-pipe, clarinet, flute, oboe, and trumpet, as well as percussion instruments including drums, the sistrum, rattles, tambourines, and later, bells and cymbals. Similar to today, musicians performed them individually or in an ensemble. 🎥© TikTok #archaeohistories

Archaeo - Histories

135,167 görüntüleme • 1 yıl önce

GuGu Fashion Friday Italy Edition 🇮🇹 With your Hosts 𝕲𝖚𝖗𝖚 𝕾𝖈𝖔𝖗𝖕𝖎𝖔𝖓 🔥 🦂 & Mika Milani Special Guest Host this week Ai Dream Girls Everyone Welcome Italian fashion has evolved from Renaissance luxury and artisan mastery to a modern powerhouse defined by craftsmanship, innovation, and global influence. Today it blends heritage with cutting‑edge design, and its future points toward sustainability, technology, and hyper‑personalized style. Renaissance to Early Modern (14th–17th Century) • Italian cities like Florence, Venice, and Milan were leaders in producing silk, velvet, and fine wool, making Italy a fashion capital long before Paris. • Clothing was ornate, colorful, and status‑driven, reflecting wealth and artistic ideals. Wikipedia Decline & Rebirth (18th–Early 20th Century) • Industrialization shifted textile dominance elsewhere, causing a decline in Italy’s fashion leadership. • Late 19th and early 20th centuries saw the birth of future icons like Gucci, Prada, and Ferragamo, laying the foundation for a revival. Wikipedia +1 Post‑WWII Renaissance (1950s–1960s) • Italy re‑emerged globally with “Made in Italy”—synonymous with elegance, tailoring, and luxury craftsmanship. • Rome and Florence became hubs for couture and Hollywood glamour. Wikipedia Late 20th Century (1970s–1990s) • Designers like Armani, Versace, and Dolce & Gabbana pushed bold silhouettes, sensuality, and modern minimalism. • Milan rose as a global fashion capital, known for sleek tailoring and high-end ready‑to‑wear. Tag Vault 21st Century to Today • Italian fashion balances heritage craftsmanship with modern innovation. • Brands continue to dominate luxury markets through leatherwork, tailoring, and iconic design. Oscalito The Future of Italian Fashion • Sustainability: eco‑friendly materials, circular production, and artisanal preservation. • Tech integration: smart textiles, digital fashion, AI‑driven design. • Global fusion: blending traditional Italian aesthetics with multicultural influences. • Personalization: bespoke and semi‑custom luxury becoming more accessible. #CreativeAiSpace #CRThemes
1:07

GuGu Fashion Friday Italy Edition 🇮🇹 With your Hosts 𝕲𝖚𝖗𝖚 𝕾𝖈𝖔𝖗𝖕𝖎𝖔𝖓 🔥 🦂 & Mika Milani Special Guest Host this week Ai Dream Girls Everyone Welcome Italian fashion has evolved from Renaissance luxury and artisan mastery to a modern powerhouse defined by craftsmanship, innovation, and global influence. Today it blends heritage with cutting‑edge design, and its future points toward sustainability, technology, and hyper‑personalized style. Renaissance to Early Modern (14th–17th Century) • Italian cities like Florence, Venice, and Milan were leaders in producing silk, velvet, and fine wool, making Italy a fashion capital long before Paris. • Clothing was ornate, colorful, and status‑driven, reflecting wealth and artistic ideals. Wikipedia Decline & Rebirth (18th–Early 20th Century) • Industrialization shifted textile dominance elsewhere, causing a decline in Italy’s fashion leadership. • Late 19th and early 20th centuries saw the birth of future icons like Gucci, Prada, and Ferragamo, laying the foundation for a revival. Wikipedia +1 Post‑WWII Renaissance (1950s–1960s) • Italy re‑emerged globally with “Made in Italy”—synonymous with elegance, tailoring, and luxury craftsmanship. • Rome and Florence became hubs for couture and Hollywood glamour. Wikipedia Late 20th Century (1970s–1990s) • Designers like Armani, Versace, and Dolce & Gabbana pushed bold silhouettes, sensuality, and modern minimalism. • Milan rose as a global fashion capital, known for sleek tailoring and high-end ready‑to‑wear. Tag Vault 21st Century to Today • Italian fashion balances heritage craftsmanship with modern innovation. • Brands continue to dominate luxury markets through leatherwork, tailoring, and iconic design. Oscalito The Future of Italian Fashion • Sustainability: eco‑friendly materials, circular production, and artisanal preservation. • Tech integration: smart textiles, digital fashion, AI‑driven design. • Global fusion: blending traditional Italian aesthetics with multicultural influences. • Personalization: bespoke and semi‑custom luxury becoming more accessible. #CreativeAiSpace #CRThemes

𝕲𝖚𝖗𝖚 𝕾𝖈𝖔𝖗𝖕𝖎𝖔𝖓 🔥 🦂

12,664 görüntüleme • 6 ay önce

🎸 Tuareg Blues, often referred to as Desert Blues, is a hypnotic and deeply evocative genre of music that originates from the Imazighen people of the Sahara Desert, spanning Mali, Niger, Algeria, Libya, Burkina Faso and many other countries. Rooted in centuries-old Imazighen traditions, it merges the haunting melodies of North African Imazighen music with the raw energy of American blues and rock. The Imazighen, have long used music as a means of storytelling, resistance, and cultural preservation. Traditional Imazighen music was played on instruments like the teherdent (a type of lute) and the imzad (a one-stringed violin, traditionally played by women). However, in the late 20th century, as Imazighen communities faced displacement, political struggles, and exile, many young musicians turned to the electric guitar, inspired by the revolutionary sounds of Western blues, rock, and reggae. This fusion created a distinct style-characterized by pentatonic scales, hypnotic rhythms, call-and-response vocals, and the steady, trance-like repetition reminiscent of both Saharan folk chants and Mississippi Delta blues. The influence of artists like Ali Farka Touré, whose Malian blues style bridged African and American blues traditions, also helped shape the genre. The music features driving guitar rhythms, often with reverb-heavy electric guitars that produce a shimmering, almost psychedelic effect. Call-and-response vocals reflect lmazighen oral traditions and communal storytelling. The lyrics are poetic and political, speaking of exile, freedom, rebellion, and the vast beauty of the desert. The hypnotic, repetitive structure of the music creates a trance-like atmosphere, deeply connected to the rhythms of nomadic life and the endless expanse of the Sahara. by Houssaine Ousbouh
1:29

🎸 Tuareg Blues, often referred to as Desert Blues, is a hypnotic and deeply evocative genre of music that originates from the Imazighen people of the Sahara Desert, spanning Mali, Niger, Algeria, Libya, Burkina Faso and many other countries. Rooted in centuries-old Imazighen traditions, it merges the haunting melodies of North African Imazighen music with the raw energy of American blues and rock. The Imazighen, have long used music as a means of storytelling, resistance, and cultural preservation. Traditional Imazighen music was played on instruments like the teherdent (a type of lute) and the imzad (a one-stringed violin, traditionally played by women). However, in the late 20th century, as Imazighen communities faced displacement, political struggles, and exile, many young musicians turned to the electric guitar, inspired by the revolutionary sounds of Western blues, rock, and reggae. This fusion created a distinct style-characterized by pentatonic scales, hypnotic rhythms, call-and-response vocals, and the steady, trance-like repetition reminiscent of both Saharan folk chants and Mississippi Delta blues. The influence of artists like Ali Farka Touré, whose Malian blues style bridged African and American blues traditions, also helped shape the genre. The music features driving guitar rhythms, often with reverb-heavy electric guitars that produce a shimmering, almost psychedelic effect. Call-and-response vocals reflect lmazighen oral traditions and communal storytelling. The lyrics are poetic and political, speaking of exile, freedom, rebellion, and the vast beauty of the desert. The hypnotic, repetitive structure of the music creates a trance-like atmosphere, deeply connected to the rhythms of nomadic life and the endless expanse of the Sahara. by Houssaine Ousbouh

WANA Visuals

514,478 görüntüleme • 4 ay önce

Let’s debunk this myth about Dominican & Puerto Rican spanish language. Dominican Spanish is not “heavily” based on African languages, it is fundamentally Spanish in grammar, structure, and vocabulary, shaped mainly by Canary Island🇮🇨 & Andalusian Spanish, with some Taíno influence & almost non-existent Afro influence languages. Spanish features that some people call “African” such: S-aspiration Fast rhythm R/L interchange Soft J Already existed in Andalusian & Canarian speech brought by settlers/families from the 1500s–1800s. Linguists (including experts like John M. Lipski, a leading researcher on Afro-Hispanic varieties) classify Dominican Spanish as a standard variety of Caribbean Spanish, firmly rooted in Iberian Spanish dialects like Andalusia (southern Spain) and the Canary Islands. These were the main sources of early Spanish settlers and immigrants to the island starting in the 16th century, with heavy Canarian waves in the 17th–19th centuries. That’s why Dominican Spanish shares so many features with Andalusian and Canarian speech, for more extended examples: -Deletion of syllable-final “s” for example “los amigos” sounding like “lo amigo” -Elision of sounds such “para” becoming “pa” These traits come directly from southern Spain and the Canaries, not from African influences. This is backed by the different inhabitants living in Hispaniola during the Captaincy General of Santo Domingo. By the late 1750’s the very small slaves importation to Santo Domingo mostly stopped and by the early 1800’s the population of Santo Domingo consisted of: 50% Triracial (75%🇪🇸 🧬) 25% Criollos (White) 10% Free-Black 10% Slaves 5% Owners Over 80% of the population were of Spanish descent who had the greatest influence to the Spanish language spoke by modern day Dominicans.
1:41

Let’s debunk this myth about Dominican & Puerto Rican spanish language. Dominican Spanish is not “heavily” based on African languages, it is fundamentally Spanish in grammar, structure, and vocabulary, shaped mainly by Canary Island🇮🇨 & Andalusian Spanish, with some Taíno influence & almost non-existent Afro influence languages. Spanish features that some people call “African” such: S-aspiration Fast rhythm R/L interchange Soft J Already existed in Andalusian & Canarian speech brought by settlers/families from the 1500s–1800s. Linguists (including experts like John M. Lipski, a leading researcher on Afro-Hispanic varieties) classify Dominican Spanish as a standard variety of Caribbean Spanish, firmly rooted in Iberian Spanish dialects like Andalusia (southern Spain) and the Canary Islands. These were the main sources of early Spanish settlers and immigrants to the island starting in the 16th century, with heavy Canarian waves in the 17th–19th centuries. That’s why Dominican Spanish shares so many features with Andalusian and Canarian speech, for more extended examples: -Deletion of syllable-final “s” for example “los amigos” sounding like “lo amigo” -Elision of sounds such “para” becoming “pa” These traits come directly from southern Spain and the Canaries, not from African influences. This is backed by the different inhabitants living in Hispaniola during the Captaincy General of Santo Domingo. By the late 1750’s the very small slaves importation to Santo Domingo mostly stopped and by the early 1800’s the population of Santo Domingo consisted of: 50% Triracial (75%🇪🇸 🧬) 25% Criollos (White) 10% Free-Black 10% Slaves 5% Owners Over 80% of the population were of Spanish descent who had the greatest influence to the Spanish language spoke by modern day Dominicans.

Danny🇩🇴🌿

30,227 görüntüleme • 6 ay önce

Amazigh Blues, often referred to as Desert Blues, is a hypnotic and deeply evocative genre of music that originates from the Imazighen people of the Sahara Desert, spanning Mali, Niger, Algeria, Libya, Burkina Faso and many other countries. Rooted in centuries-old Imazighen traditions, it merges the haunting melodies of North African Imazighen music with the raw energy of American blues and rock. The Imazighen, have long used music as a means of storytelling, resistance, and cultural preservation. Traditional Imazighen music was played on instruments like the teherdent (a type of lute) and the imzad (a one-stringed violin, traditionally played by women). However, in the late 20th century, as Imazighen communities faced displacement, political struggles, and exile, many young musicians turned to the electric guitar, inspired by the revolutionary sounds of Western blues, rock, and reggae. This fusion created a distinct style-characterized by pentatonic scales, hypnotic rhythms, call-and-response vocals, and the steady, trance-like repetition reminiscent of both Saharan folk chants and Mississippi Delta blues. The influence of artists like Ali Farka Touré, whose Malian blues style bridged African and American blues traditions, also helped shape the genre. The music features driving guitar rhythms, often with reverb-heavy electric guitars that produce a shimmering, almost psychedelic effect. Call-and-response vocals reflect lmazighen oral traditions and communal storytelling. The lyrics are poetic and political, speaking of exile, freedom, rebellion, and the vast beauty of the desert. The hypnotic, repetitive structure of the music creates a trance-like atmosphere, deeply connected to the rhythms of nomadic life and the endless expanse of the Sahara. 🎸 Houssaine Ousbouh 📷 Via Archive Africa |IG
1:30

Amazigh Blues, often referred to as Desert Blues, is a hypnotic and deeply evocative genre of music that originates from the Imazighen people of the Sahara Desert, spanning Mali, Niger, Algeria, Libya, Burkina Faso and many other countries. Rooted in centuries-old Imazighen traditions, it merges the haunting melodies of North African Imazighen music with the raw energy of American blues and rock. The Imazighen, have long used music as a means of storytelling, resistance, and cultural preservation. Traditional Imazighen music was played on instruments like the teherdent (a type of lute) and the imzad (a one-stringed violin, traditionally played by women). However, in the late 20th century, as Imazighen communities faced displacement, political struggles, and exile, many young musicians turned to the electric guitar, inspired by the revolutionary sounds of Western blues, rock, and reggae. This fusion created a distinct style-characterized by pentatonic scales, hypnotic rhythms, call-and-response vocals, and the steady, trance-like repetition reminiscent of both Saharan folk chants and Mississippi Delta blues. The influence of artists like Ali Farka Touré, whose Malian blues style bridged African and American blues traditions, also helped shape the genre. The music features driving guitar rhythms, often with reverb-heavy electric guitars that produce a shimmering, almost psychedelic effect. Call-and-response vocals reflect lmazighen oral traditions and communal storytelling. The lyrics are poetic and political, speaking of exile, freedom, rebellion, and the vast beauty of the desert. The hypnotic, repetitive structure of the music creates a trance-like atmosphere, deeply connected to the rhythms of nomadic life and the endless expanse of the Sahara. 🎸 Houssaine Ousbouh 📷 Via Archive Africa |IG

MENA Visuals

938,235 görüntüleme • 1 yıl önce

Orteke - traditional performing art in Kazakhstan 🇰🇿; dance, puppet and music... Orteke is an indigenous Kazakh performing art that combines theatre, music and puppetry. This folk art entails a music performance with a dombyra, a traditional two-stringed instrument and a dance performed by a wooden puppet. Attached to the surface of a traditional drum with a metal rod, a wooden puppet in the shape of a mountain goat is connected to the fingers of a musician by one or several strings. As the musician strikes their fingers to play the dombyra, the puppet comes to life, hopping in sync with the music while tapping a rhythmic beat on the drum. Some experts can play with three or more puppets at a time. This performance, fascinating for its simplicity, is enjoyed by children and adults alike. It is primarily transmitted within communities and through apprenticeships, although the Kokil Musical College in Almaty has also established a team of researchers dedicated to the art. The biennial Orteke international festivals and regional puppet art competitions are other platforms for the learning and sharing of skills and experience between puppet artists from Kazakhstan and neighbouring countries. An important part of the region’s folk heritage and identity, Orteke also serves as a communication tool between adults and children. The tradition of the orteke may go back several thousands of years. The word “orteke” derives from “or”, ditch, hole or trap, and “teke”, goat. Orteke are carved figures of a horned mountain goat mounted on stands, manipulated by a puppeteer using slender sticks and strings attached to the puppets’ wooden parts. The orteke are attached by threads to the fingers of the puppeteer-musician playing the dombra (a wooden plucked instrument with two strings) and usually performed on a Kazakh perussion instrument, the daulpaz (dauyilpaz, bass drum), “which has a built­in metal core for the fastening of the body of the goat. From below, the core is connected to a foot of the performer and thus is manipulated by him. Simultaneously, dombra performer can operate three animals (with his two hands and a foot), separately or at the same time.” The goat dances on its drum plinth, creating a percussive rhythm to accompany the string music of the dombra. The goat puppet is also found in neighbouring countries. Older Kazakhs today have childhood memories of relatively simple performances with puppets and musical instruments, such as these 1927 reminiscences of a young girl during the pre-Soviet period: “There were people playing the instrument, dombra, and at the end of the dombra they placed the puppet made of straw. And when they played, the puppet began to jump and dance. It was fun for the children. These people were invited to the houses to entertain children, and more often they entertained people in the bazaars. It was very popular, especially among the children …Then the shadow theatre was very popular because there was no electricity and the only entertainment was showing different animals on the wall.” The Kazakh puppetry and musical tradition called the Orteke is today experiencing a “comeback”, thanks to artists, academics, the Kazakh government, and the public as part of Kazakhs search for a national identity. Originally made by tribal artist from south-west Kazakhstan, Orteke was all but forgotten; it only survived because a few master craftsmen and puppeteers preserved the tradition and passed it on. Today, traditional Orteke has found new audiences. The government-funded Orteke 2010 puppet festival, held in the country’s capital, Almaty, was devoted to the Orteke. Performers from Kazakhstan, Kyrgyzstan, Russia, Turkmenistan, and Uzbekistan attended the 2010 festival. Some of the Orteke performers were very young, as young as five years old. 🎥© dala_sound #archaeohistories
0:25

Orteke - traditional performing art in Kazakhstan 🇰🇿; dance, puppet and music... Orteke is an indigenous Kazakh performing art that combines theatre, music and puppetry. This folk art entails a music performance with a dombyra, a traditional two-stringed instrument and a dance performed by a wooden puppet. Attached to the surface of a traditional drum with a metal rod, a wooden puppet in the shape of a mountain goat is connected to the fingers of a musician by one or several strings. As the musician strikes their fingers to play the dombyra, the puppet comes to life, hopping in sync with the music while tapping a rhythmic beat on the drum. Some experts can play with three or more puppets at a time. This performance, fascinating for its simplicity, is enjoyed by children and adults alike. It is primarily transmitted within communities and through apprenticeships, although the Kokil Musical College in Almaty has also established a team of researchers dedicated to the art. The biennial Orteke international festivals and regional puppet art competitions are other platforms for the learning and sharing of skills and experience between puppet artists from Kazakhstan and neighbouring countries. An important part of the region’s folk heritage and identity, Orteke also serves as a communication tool between adults and children. The tradition of the orteke may go back several thousands of years. The word “orteke” derives from “or”, ditch, hole or trap, and “teke”, goat. Orteke are carved figures of a horned mountain goat mounted on stands, manipulated by a puppeteer using slender sticks and strings attached to the puppets’ wooden parts. The orteke are attached by threads to the fingers of the puppeteer-musician playing the dombra (a wooden plucked instrument with two strings) and usually performed on a Kazakh perussion instrument, the daulpaz (dauyilpaz, bass drum), “which has a built­in metal core for the fastening of the body of the goat. From below, the core is connected to a foot of the performer and thus is manipulated by him. Simultaneously, dombra performer can operate three animals (with his two hands and a foot), separately or at the same time.” The goat dances on its drum plinth, creating a percussive rhythm to accompany the string music of the dombra. The goat puppet is also found in neighbouring countries. Older Kazakhs today have childhood memories of relatively simple performances with puppets and musical instruments, such as these 1927 reminiscences of a young girl during the pre-Soviet period: “There were people playing the instrument, dombra, and at the end of the dombra they placed the puppet made of straw. And when they played, the puppet began to jump and dance. It was fun for the children. These people were invited to the houses to entertain children, and more often they entertained people in the bazaars. It was very popular, especially among the children …Then the shadow theatre was very popular because there was no electricity and the only entertainment was showing different animals on the wall.” The Kazakh puppetry and musical tradition called the Orteke is today experiencing a “comeback”, thanks to artists, academics, the Kazakh government, and the public as part of Kazakhs search for a national identity. Originally made by tribal artist from south-west Kazakhstan, Orteke was all but forgotten; it only survived because a few master craftsmen and puppeteers preserved the tradition and passed it on. Today, traditional Orteke has found new audiences. The government-funded Orteke 2010 puppet festival, held in the country’s capital, Almaty, was devoted to the Orteke. Performers from Kazakhstan, Kyrgyzstan, Russia, Turkmenistan, and Uzbekistan attended the 2010 festival. Some of the Orteke performers were very young, as young as five years old. 🎥© dala_sound #archaeohistories

Archaeo - Histories

101,734 görüntüleme • 3 ay önce

Ancient ruins of Palmyra, a city called "the Bride of the Desert," rediscovered by Westerners in 17th-18th Centuries. Much like the discovery of King Tut influenced art deco designs, the "Caravan City" of Palmyra in central Syria created a worldwide excitement for classical architecture. Middle East has affected the West throughout history, yesterday and today. Palmyra is the Latin name given by the Romans to the palm tree rich area they annexed onto their Eastern Empire in the first century. Before that, as written in The Holy Bible (2 Chronicles 8:4) and other ancient documents, Tadmor was its name, a desert city built by Solomon (990-931 BC). The oasis began to flourish under the Roman reign of Tiberius, after about 15 AD, until roughly 273 AD. The ruins in Palmyra are from this Roman period—before the Edict of Milan in 313 AD, early Christian architecture, and Byzantine engineering. This is a time when Western civilization was influenced by Eastern traditions and methods—the introduction of al jabr (algebra) and, in architecture, the pointed arch, well-known as a feature in Western Gothic architecture but said to have originated in Syria. The architecture of Palmyra exemplified the "Eastern" influence on "Western" art and architecture. Like citadel atop a hill in Aleppo, Palmyra's reconstructed citadel—Qala'at ibn Maan—stood watch over the grand crossroads below. At least it did before the 2011 Syrian civil war began. Once a tourist destination, Palmyra is still an area of fascination and horror. When the Islamic State (ISIS or ISIL) overtook the Syrian soldiers in 2015, the militant rebels chose the highest spot, Qala'at ibn Maan, to raise their victory flag of victory. Subsequently, the terrorists have systematically destroyed the iconic architecture considered blasphemous. Again, the landscape has changed. Palmyra continues to be a story of East meets West. What has been lost? Palmyra a UNESCO World Heritage Site in part for being influential in Neoclassical designs, including classical revival house styles, found in Europe and America in 18th and 19th Century. "Discovery of the ruined city by travellers in 17th-18th Centuries resulted in its subsequent influence on architectural styles," writes the World Heritage Centre. What did these modern explorers come across? "A grand, colonnaded street of 1100 metres' length forms the monumental axis of the city, which together with secondary colonnaded cross streets links the major public monuments" are the ruins that Western explorers may have seen. "The grand colonnade constitutes a characteristic example of a type of structure which represents a major artistic development." The Cardo Maximus is the name given to the grand boulevards that run north and south in ancient Roman cities. The Monumental Arch would lead the caravan travelers and traders into the city of Palmyra. The ruins of this Syrian city give today's architects and city planners a good idea of past designs. The grand monumental colonnaded street, open in the centre with covered side passages, and subsidiary cross streets of similar design together with the major public buildings, form an outstanding illustration of architecture and urban layout at the peak of Rome's expansion in and engagement with the East. In the fall of 2015 many news organizations reported that militant groups had bombed and destroyed the famous arches of Palmyra. The great Neoclassical triumphal arches we see today, like the Arc de Triomphe in Paris, France, can be traced back to a structure typically found at the crossroads of ancient Roman streets. The tetrapylon or quadrifron—tetra- and quad- mean "four" in Greek and Latin—had four pylons or faces within the four corners of the intersection. Symmetry and proportion are Classical design features that we continue to bring to our homes. 🎥© lostcivilizations #archaeohistories
0:35

Ancient ruins of Palmyra, a city called "the Bride of the Desert," rediscovered by Westerners in 17th-18th Centuries. Much like the discovery of King Tut influenced art deco designs, the "Caravan City" of Palmyra in central Syria created a worldwide excitement for classical architecture. Middle East has affected the West throughout history, yesterday and today. Palmyra is the Latin name given by the Romans to the palm tree rich area they annexed onto their Eastern Empire in the first century. Before that, as written in The Holy Bible (2 Chronicles 8:4) and other ancient documents, Tadmor was its name, a desert city built by Solomon (990-931 BC). The oasis began to flourish under the Roman reign of Tiberius, after about 15 AD, until roughly 273 AD. The ruins in Palmyra are from this Roman period—before the Edict of Milan in 313 AD, early Christian architecture, and Byzantine engineering. This is a time when Western civilization was influenced by Eastern traditions and methods—the introduction of al jabr (algebra) and, in architecture, the pointed arch, well-known as a feature in Western Gothic architecture but said to have originated in Syria. The architecture of Palmyra exemplified the "Eastern" influence on "Western" art and architecture. Like citadel atop a hill in Aleppo, Palmyra's reconstructed citadel—Qala'at ibn Maan—stood watch over the grand crossroads below. At least it did before the 2011 Syrian civil war began. Once a tourist destination, Palmyra is still an area of fascination and horror. When the Islamic State (ISIS or ISIL) overtook the Syrian soldiers in 2015, the militant rebels chose the highest spot, Qala'at ibn Maan, to raise their victory flag of victory. Subsequently, the terrorists have systematically destroyed the iconic architecture considered blasphemous. Again, the landscape has changed. Palmyra continues to be a story of East meets West. What has been lost? Palmyra a UNESCO World Heritage Site in part for being influential in Neoclassical designs, including classical revival house styles, found in Europe and America in 18th and 19th Century. "Discovery of the ruined city by travellers in 17th-18th Centuries resulted in its subsequent influence on architectural styles," writes the World Heritage Centre. What did these modern explorers come across? "A grand, colonnaded street of 1100 metres' length forms the monumental axis of the city, which together with secondary colonnaded cross streets links the major public monuments" are the ruins that Western explorers may have seen. "The grand colonnade constitutes a characteristic example of a type of structure which represents a major artistic development." The Cardo Maximus is the name given to the grand boulevards that run north and south in ancient Roman cities. The Monumental Arch would lead the caravan travelers and traders into the city of Palmyra. The ruins of this Syrian city give today's architects and city planners a good idea of past designs. The grand monumental colonnaded street, open in the centre with covered side passages, and subsidiary cross streets of similar design together with the major public buildings, form an outstanding illustration of architecture and urban layout at the peak of Rome's expansion in and engagement with the East. In the fall of 2015 many news organizations reported that militant groups had bombed and destroyed the famous arches of Palmyra. The great Neoclassical triumphal arches we see today, like the Arc de Triomphe in Paris, France, can be traced back to a structure typically found at the crossroads of ancient Roman streets. The tetrapylon or quadrifron—tetra- and quad- mean "four" in Greek and Latin—had four pylons or faces within the four corners of the intersection. Symmetry and proportion are Classical design features that we continue to bring to our homes. 🎥© lostcivilizations #archaeohistories

Archaeo - Histories

16,407 görüntüleme • 11 ay önce

Napoleon studied Caesar. Caesar wept before a statue of Alexander. Alexander wanted to be Achilles. The greatest men the West ever produced were all trying to become the same Greek warrior... Alexander the Great kept a copy of the Iliad under his pillow. His tutor Aristotle had personally annotated an edition for him. According to Plutarch, when Alexander arrived at the ruins of Troy in 334 BC, he sacrificed at the tomb of Achilles and ran naked around it. He told the priests offering to show him Paris's harp that he had no interest in seeing the harp of a coward. "I would far rather see the lyre of Achilles," he said, "which he used to sing the glories of brave men." Three centuries later, in 69 BC, Julius Caesar was serving as quaestor in Spain when he stood in front of a statue of Alexander in the temple of Hercules at Cadiz. He was thirty-two: the same age at which Alexander had died, having already conquered most of the known world. Caesar wept. When his friends asked why, he answered, according to Plutarch: "Do you not think it is matter for sorrow that while Alexander, at my age, was already king of so many peoples, I have as yet achieved no brilliant success?" Eighteen centuries after that, Napoleon Bonaparte sat for his coronation portrait wearing a golden laurel wreath, modelled on the wreath of Julius Caesar. He carried with him on campaign the works of Plutarch and Caesar's own commentaries. Each of these men was reaching back, through the centuries, to the figure who came first. And that figure was a half-mortal Greek warrior who, when offered the choice between a long, quiet life and a short, glorious one, chose glory. The Greek name Akhilleus is most plausibly derived from akhos, meaning grief, and laos, meaning people. The grief of the people. The greatest hero of the Western imagination is not named for victory or for strength. He is named for sorrow... But that is the bargain: to choose greatness in the Achilles tradition is to choose a particular kind of suffering. Alexander died at thirty-two. Caesar was murdered by his closest friends. Napoleon ended his life on an island in the South Atlantic, looking at the sea. Each of them got what Achilles got: a name that has outlasted empires, and a life that was paid for in full. What drove the men who built Western civilization was not happiness. It was something older, deeper, and harder to name. The Greeks called it kleos: the glory that survives death. Achilles got there first. Three thousand years later, men are still trying to follow him... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.
1:27

Napoleon studied Caesar. Caesar wept before a statue of Alexander. Alexander wanted to be Achilles. The greatest men the West ever produced were all trying to become the same Greek warrior... Alexander the Great kept a copy of the Iliad under his pillow. His tutor Aristotle had personally annotated an edition for him. According to Plutarch, when Alexander arrived at the ruins of Troy in 334 BC, he sacrificed at the tomb of Achilles and ran naked around it. He told the priests offering to show him Paris's harp that he had no interest in seeing the harp of a coward. "I would far rather see the lyre of Achilles," he said, "which he used to sing the glories of brave men." Three centuries later, in 69 BC, Julius Caesar was serving as quaestor in Spain when he stood in front of a statue of Alexander in the temple of Hercules at Cadiz. He was thirty-two: the same age at which Alexander had died, having already conquered most of the known world. Caesar wept. When his friends asked why, he answered, according to Plutarch: "Do you not think it is matter for sorrow that while Alexander, at my age, was already king of so many peoples, I have as yet achieved no brilliant success?" Eighteen centuries after that, Napoleon Bonaparte sat for his coronation portrait wearing a golden laurel wreath, modelled on the wreath of Julius Caesar. He carried with him on campaign the works of Plutarch and Caesar's own commentaries. Each of these men was reaching back, through the centuries, to the figure who came first. And that figure was a half-mortal Greek warrior who, when offered the choice between a long, quiet life and a short, glorious one, chose glory. The Greek name Akhilleus is most plausibly derived from akhos, meaning grief, and laos, meaning people. The grief of the people. The greatest hero of the Western imagination is not named for victory or for strength. He is named for sorrow... But that is the bargain: to choose greatness in the Achilles tradition is to choose a particular kind of suffering. Alexander died at thirty-two. Caesar was murdered by his closest friends. Napoleon ended his life on an island in the South Atlantic, looking at the sea. Each of them got what Achilles got: a name that has outlasted empires, and a life that was paid for in full. What drove the men who built Western civilization was not happiness. It was something older, deeper, and harder to name. The Greeks called it kleos: the glory that survives death. Achilles got there first. Three thousand years later, men are still trying to follow him... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

407,092 görüntüleme • 3 ay önce

🚨 Ripple Set To Become The Global Central Bank With The U.S. Announcing Trade Unification With BRICS, UK, Japan and EU Russia just announced considering moving back to the US Dollar as part of a wide-ranging economic partnership with President Trump. • Russia is reportedly pivoting back toward the U.S. dollar, a structural shift in global settlement flows. Notably, Russian banks tested XRPL pilots with Ripple as early as 2018. • The India-U.S. trade corridor is expanding with the recent trade deal while multiple Indian banks have already tested XRPL rails at institutional scale(as noted in video below). • China, despite geopolitical tension participated in early Ripple/XRPL experimentation with BRICS countries between 2016-2018(documented). This is no longer a BRICS-only story: Japan, the EU, and the UK are building parallel regulatory pathways compatible with blockchain-based settlement. • Japan remains one of Ripple’s deepest strongholds, partnerships spanning 50+ banks, with Japan set to officially recognize as XRP as a financial asset by late 2026. • On Dec 1, 2025 Ripple received payments license in Singapore through MAS. • At the EU layer, ex-EU and now ECB President Christine Lagarde has previously acknowledged Ripple as a major disruptor to banking, signaling institutional readiness of where markets are heading. • Ripple now holds 40+ regulatory approvals across Europe, alongside fresh authorization in the UK, forming a compliant payments corridor across major capital markets. XRPL’s recently announced Permissioned domains will be used by global central banks and countries, with zk-credential system and identity-linked KYC wallets via DNA Protocol, allowing countries to move liquidity globally safely while staying compliant. ‼️ The Part Most People Missed: When Ripple secures a U.S. banking license, it effectively becomes a regulated dollar gateway, positioning RLUSD as the connective tissue of global liquidity while nations remain dollar-linked through XRPL rails.
0:26

🚨 Ripple Set To Become The Global Central Bank With The U.S. Announcing Trade Unification With BRICS, UK, Japan and EU Russia just announced considering moving back to the US Dollar as part of a wide-ranging economic partnership with President Trump. • Russia is reportedly pivoting back toward the U.S. dollar, a structural shift in global settlement flows. Notably, Russian banks tested XRPL pilots with Ripple as early as 2018. • The India-U.S. trade corridor is expanding with the recent trade deal while multiple Indian banks have already tested XRPL rails at institutional scale(as noted in video below). • China, despite geopolitical tension participated in early Ripple/XRPL experimentation with BRICS countries between 2016-2018(documented). This is no longer a BRICS-only story: Japan, the EU, and the UK are building parallel regulatory pathways compatible with blockchain-based settlement. • Japan remains one of Ripple’s deepest strongholds, partnerships spanning 50+ banks, with Japan set to officially recognize as XRP as a financial asset by late 2026. • On Dec 1, 2025 Ripple received payments license in Singapore through MAS. • At the EU layer, ex-EU and now ECB President Christine Lagarde has previously acknowledged Ripple as a major disruptor to banking, signaling institutional readiness of where markets are heading. • Ripple now holds 40+ regulatory approvals across Europe, alongside fresh authorization in the UK, forming a compliant payments corridor across major capital markets. XRPL’s recently announced Permissioned domains will be used by global central banks and countries, with zk-credential system and identity-linked KYC wallets via DNA Protocol, allowing countries to move liquidity globally safely while staying compliant. ‼️ The Part Most People Missed: When Ripple secures a U.S. banking license, it effectively becomes a regulated dollar gateway, positioning RLUSD as the connective tissue of global liquidity while nations remain dollar-linked through XRPL rails.

Stern Drew

137,044 görüntüleme • 5 ay önce

In the final stretch of the interview, Armstrong delivered a grave warning: his computer model—known for accurately predicting every major war cycle in recent decades—is flashing red. An “international war panic cycle” is set to erupt in 2026. “I’ve tried my best to defeat my own computer, but I failed. There’s no stopping this,” he wrote in his latest report. He pointed to collapsing bond markets and rising long-term interest rates—ominous trends he says mirror past wartime patterns. During WWII, the Fed had to buy bonds to keep rates low. But by the Korean War, they refused—sparking a high-profile showdown with the White House. “The Federal Reserve said, no, we’re not following the White House,” Armstrong said. War, he explained, sends interest rates soaring—and wartime bonds often become worthless. “Who wins? You can still buy Confederate bonds on eBay, if you like,” he joked. “They’re worthless!” Today, the Fed is powerless. “Our computer shows long-term interest rates are going up,” Armstrong said. “The Fed can only control short-term rates.” “This is all reflecting war,” he added. He expects global tensions to rise rapidly—starting late July and intensifying through August, September, and October. As for NATO? “They want war. NATO has no purpose without war,” he said. “They can only remain relevant by saying, ‘Oh, Putin wants to invade Europe.’” But Armstrong pushed back: “If Putin doesn’t want to invade Europe, then why do we need you?” He said the West has deliberately crossed every red line Putin set—hoping to bait him into striking NATO first so they can justify all-out war. In a chilling final warning, Armstrong said China has already chosen a side. “They will back Russia against Europe,” he explained. “Why? Because if they don’t, you take out Russia—and they’re coming for you.”
4:20

In the final stretch of the interview, Armstrong delivered a grave warning: his computer model—known for accurately predicting every major war cycle in recent decades—is flashing red. An “international war panic cycle” is set to erupt in 2026. “I’ve tried my best to defeat my own computer, but I failed. There’s no stopping this,” he wrote in his latest report. He pointed to collapsing bond markets and rising long-term interest rates—ominous trends he says mirror past wartime patterns. During WWII, the Fed had to buy bonds to keep rates low. But by the Korean War, they refused—sparking a high-profile showdown with the White House. “The Federal Reserve said, no, we’re not following the White House,” Armstrong said. War, he explained, sends interest rates soaring—and wartime bonds often become worthless. “Who wins? You can still buy Confederate bonds on eBay, if you like,” he joked. “They’re worthless!” Today, the Fed is powerless. “Our computer shows long-term interest rates are going up,” Armstrong said. “The Fed can only control short-term rates.” “This is all reflecting war,” he added. He expects global tensions to rise rapidly—starting late July and intensifying through August, September, and October. As for NATO? “They want war. NATO has no purpose without war,” he said. “They can only remain relevant by saying, ‘Oh, Putin wants to invade Europe.’” But Armstrong pushed back: “If Putin doesn’t want to invade Europe, then why do we need you?” He said the West has deliberately crossed every red line Putin set—hoping to bait him into striking NATO first so they can justify all-out war. In a chilling final warning, Armstrong said China has already chosen a side. “They will back Russia against Europe,” he explained. “Why? Because if they don’t, you take out Russia—and they’re coming for you.”

The Vigilant Fox 🦊

59,863 görüntüleme • 1 yıl önce

♰ 🇺🇸 Largest Collection of Relics 🇺🇸 ♰ 🎥 Saint Anthony's Chapel, Pittsburgh, Pennsylvania, USA 🇺🇸 It houses the largest collection of publicly venerable Christian relics outside the Vatican 🇻🇦, with over 5,000 relics displayed in more than 800 gold and jewel-encrusted reliquaries. The chapel was built in 1880 by Father Suitbert G. Mollinger, a Belgian-born priest and physician, who personally funded its construction using his family’s inheritance. He collected relics during periods of European political upheaval, including the Kulturkampf and Italian unification, and ensured their authenticity with certified documentation, some dating back to the 18th century. The chapel’s collection includes bone fragments from saints, pieces of the True Cross, a thorn from the Crown of Thorns, and the complete skeletal remains of Saint Demetrius under the altar. Life-sized Stations of the Cross, imported from Munich, and ornate stained-glass windows from Europe enhance the chapel’s spiritual atmosphere. It was restored in the 1970s after years of disrepair and is now part of the Shrines of Pittsburgh, a diocesan initiative promoting pilgrimage sites. Video Upside down face
0:33

♰ 🇺🇸 Largest Collection of Relics 🇺🇸 ♰ 🎥 Saint Anthony's Chapel, Pittsburgh, Pennsylvania, USA 🇺🇸 It houses the largest collection of publicly venerable Christian relics outside the Vatican 🇻🇦, with over 5,000 relics displayed in more than 800 gold and jewel-encrusted reliquaries. The chapel was built in 1880 by Father Suitbert G. Mollinger, a Belgian-born priest and physician, who personally funded its construction using his family’s inheritance. He collected relics during periods of European political upheaval, including the Kulturkampf and Italian unification, and ensured their authenticity with certified documentation, some dating back to the 18th century. The chapel’s collection includes bone fragments from saints, pieces of the True Cross, a thorn from the Crown of Thorns, and the complete skeletal remains of Saint Demetrius under the altar. Life-sized Stations of the Cross, imported from Munich, and ornate stained-glass windows from Europe enhance the chapel’s spiritual atmosphere. It was restored in the 1970s after years of disrepair and is now part of the Shrines of Pittsburgh, a diocesan initiative promoting pilgrimage sites. Video Upside down face

Beauty of the Catholic Faith

36,331 görüntüleme • 6 ay önce

Eruption - Van Halen - Violin Cover by Nina D My journey to learn Eruption began a few years ago, when I only had access to a 5-string fretless violin. I learned a small bit of it, and quickly realized that I would need to compromise the octave range, and the finger tapping in order to perform it. There are a few covers out there of violinists doing just that, and they are very impressive. Anyone who knows me, knows that I did not want to do that. I wanted to sound like Eddie. Thus began my journey with the 7-string fretted violin. Pretty much the entire reason for having this instrument custom-made (thanks Wood Violins crew!) was to see if I could play Eruption. At the time of purchase, I wasn’t even sure if it would be physically possible to do the finger tapping, even with the new instrument. Upon its arrival, my first task was to learn how to play the darn thing- it’s like a completely different instrument, the neck is huge, I am tiny, and the low strings are super thick. (I also had to buy a special bow to properly play it). If your bow arm falters by a millimeter, you will hit the surrounding strings. Once I had this part somewhat down, I knew I had to dive into the hardest part right away- to answer the question, “but will it tap?” I began with transcribing this beast of a solo into notation. If you play guitar, and you want to learn how to play pretty much anything, you can go to YouTube and find slow note for note tutorials on EXACTLY how to do so. This doesn’t exist for trying to translate guitar things to a violin. You’re on your own. I tried it out with my normal rig. Pretty much dead sound. Nothing happening but noise. I had a few ideas for specialty pedals. Since you can’t really go to the store and try pedals any more, I bought one, it didn’t work, shipped it back, bought a different one, didn’t work, shipped it back, etc. ad nauseam. Months went by. It seemed for every step forward I took in achieving this technique, I took two steps back with new problems. For months, my poor family listened to what sounded like a train wreck falling on top of a car wreck falling off the Empire State Building. Brody even said to me, “it ain’t gonna happen.” So I locked myself away until it did. I struggled and fought the limitations of the instrument. I had some hard practice days, but the best motivation for me is “it can’t be done.” It took a combination of newly learned left and right hand technique, played precisely, practiced slowly for clarity, FOREVER to even make the right sound. The spaces that you need to hit, quickly, on a fretted violin are much smaller than that of a guitar. I tweaked the effect chain and technique right up until the 11th hour on the very final day of doing this. One day near the end of it, I was practicing in the studio and Brody was taking a shower. When he got out, he said to me he thought I was playing the recording of Van Halen. That was my breakthrough day. I knew I was close. I haven’t worked this hard since my masters recital on classical violin. I’ve ripped up my fingers to shreds, they bled, they blistered. Eddie Van Halen was in a class all of his own. His sound, technique, rhythm, and musicality changed the game for all guitarists (and this electric violinist) that followed. I am a far better performer, a far better violinist, with a much larger range of abilities, thanks to the months (or years) I put into dissecting his style and taking the time to do this on a violin as close to how he did it (so effortlessly) on a guitar as possible. Thank you, EVH, for making so many of us better musicians. ❤️🤍🖤 Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden HMU: the MOBB Group Graphics: Derryl Rice #eruption #vanhalen #eddievanhalen #evh #cover #coversong #guitarsolo #violin
1:51

Eruption - Van Halen - Violin Cover by Nina D My journey to learn Eruption began a few years ago, when I only had access to a 5-string fretless violin. I learned a small bit of it, and quickly realized that I would need to compromise the octave range, and the finger tapping in order to perform it. There are a few covers out there of violinists doing just that, and they are very impressive. Anyone who knows me, knows that I did not want to do that. I wanted to sound like Eddie. Thus began my journey with the 7-string fretted violin. Pretty much the entire reason for having this instrument custom-made (thanks Wood Violins crew!) was to see if I could play Eruption. At the time of purchase, I wasn’t even sure if it would be physically possible to do the finger tapping, even with the new instrument. Upon its arrival, my first task was to learn how to play the darn thing- it’s like a completely different instrument, the neck is huge, I am tiny, and the low strings are super thick. (I also had to buy a special bow to properly play it). If your bow arm falters by a millimeter, you will hit the surrounding strings. Once I had this part somewhat down, I knew I had to dive into the hardest part right away- to answer the question, “but will it tap?” I began with transcribing this beast of a solo into notation. If you play guitar, and you want to learn how to play pretty much anything, you can go to YouTube and find slow note for note tutorials on EXACTLY how to do so. This doesn’t exist for trying to translate guitar things to a violin. You’re on your own. I tried it out with my normal rig. Pretty much dead sound. Nothing happening but noise. I had a few ideas for specialty pedals. Since you can’t really go to the store and try pedals any more, I bought one, it didn’t work, shipped it back, bought a different one, didn’t work, shipped it back, etc. ad nauseam. Months went by. It seemed for every step forward I took in achieving this technique, I took two steps back with new problems. For months, my poor family listened to what sounded like a train wreck falling on top of a car wreck falling off the Empire State Building. Brody even said to me, “it ain’t gonna happen.” So I locked myself away until it did. I struggled and fought the limitations of the instrument. I had some hard practice days, but the best motivation for me is “it can’t be done.” It took a combination of newly learned left and right hand technique, played precisely, practiced slowly for clarity, FOREVER to even make the right sound. The spaces that you need to hit, quickly, on a fretted violin are much smaller than that of a guitar. I tweaked the effect chain and technique right up until the 11th hour on the very final day of doing this. One day near the end of it, I was practicing in the studio and Brody was taking a shower. When he got out, he said to me he thought I was playing the recording of Van Halen. That was my breakthrough day. I knew I was close. I haven’t worked this hard since my masters recital on classical violin. I’ve ripped up my fingers to shreds, they bled, they blistered. Eddie Van Halen was in a class all of his own. His sound, technique, rhythm, and musicality changed the game for all guitarists (and this electric violinist) that followed. I am a far better performer, a far better violinist, with a much larger range of abilities, thanks to the months (or years) I put into dissecting his style and taking the time to do this on a violin as close to how he did it (so effortlessly) on a guitar as possible. Thank you, EVH, for making so many of us better musicians. ❤️🤍🖤 Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden HMU: the MOBB Group Graphics: Derryl Rice #eruption #vanhalen #eddievanhalen #evh #cover #coversong #guitarsolo #violin

Nina DiGregorio

403,985 görüntüleme • 2 yıl önce