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This is the first of what I hope to be a series of 25 podcast episodes regarding some of the most influential and creative musicians prior to the 1900s - all ranked chronologically - then the following month, I will deal to some of the most influential musicians after the 1900s. It somehow didn't seem right to have Beethoven and the Beatles compete with each other in a list of the greats. Both Bach and Beyoncé are extremely influential in their own ways, but how can you possibly compare the two?

Each episode is a conversation across time: we’ll explore their lives, their work, and their personalities, with anecdotes, playful commentary, and yes—sometimes a little mischief. You’ll hear the human side of genius, the struggles, the bold choices, and the moments of brilliance that made them unforgettable And we begin our journey with the man who changed the very sound of music: Claudio Monteverdi.

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Well, I checked my stats for Celebrate Creativity and I am now just 7 downloads 25,000 downloads in 100 countries and territories - something I could have never envisioned five years ago when I started this podcast as Celebrate Poe. And I will soon be starting a new series of podcasts where I talk to the ghosts - or if you will - spirits of various musicians. Therefore before I start that series, volume brimming with the knowledge of the ages snuggled into a big company chair I thought it would be interesting to go back to when I first encountered the ghost of a very talented creator - that this would be a great time to go back five years ago to the very first episode of Celebrate Poe and introduce the spirit of Edgar Allan Poe.

In this reprise of one of the most downloaded episodes of Celebrate Poe, you’ll hear how I first “met” the ghost — or spirit — of Edgar Allan Poe.

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Spring intro

“Welcome, my friends, to The Microphone Episode. Yes, this is the one where the. greatest composers of all time—individuals who shuffled off their mortal coil long ago—are handed a microphone for the very first time.

Now you might also think of this episode as a promo or the introduction to the majority of the episodes in October where I take a deep dive into the life and music of approximately 25 noted classical musicians prior to 1900. Before I actually start, I wanna talk a little bit about the challenges involved in doing such a program.

First, was the actual writing of the transcript for each podcast episode. I would read about and do research regarding each musician. Then I would know what questions to ask ChatGPT to give me a more interesting answer. For example, if I just asked ChatGPT to tell me about Beethoven - it really wouldn't have that much to go on - but if I specifically asked if Beethoven wrote any letters regarding his hearing loss, then it could give me some very useful answers. In fact, in one of the most moving documents in all of music history, Beethoven wrote in a letter to his brothers Carl and Johann in October 1802. He was only 31 at the time, but his hearing loss was advancing, and he poured out his despair, frustration, and longing for life and art. He never sent the letter—it was found among his papers after his death in 1827.

[Closing music – Spring from The Four Seasons by Antonio Vivaldi, Performed by John Harrison,. Source: Wikimedia Commons - CC BY-SA commons.wikimedia.org/wiki/File:Vivaldi_ _Four_Seasons_1_Spring_mvt_1_Allegro_-_John_Harrison_violin.oga>,License: Public Domain (composition) / Creative Commons (recording)

Ghost Entrance: Source: https://www.zapsplat.com/page/6/?s=ghost&post_type=music&sound-effect-category-id

https://zapsplat.net/zapsplat-sounds/download.php?fileName=sound_design_texture_ghostly_pass.mp3&expiry=1601608139,LLicense: Creative Commons.

“Vespro Della Beata Vergine/ Deus In Adiutorium - Domine Ad Adiuvandum”, by Claudio Monteverdi, Performed by Schwäbischer Singkreis; Hans Grischkat, Source: https://dn721902.ca.archive.org/0/items/lp_vespro-della-beata-vergine_claudio-monteverdi-schwabischer-singkredisc1/01.01.%20Vespro%20Della%20Beata%20Vergine%3A%20Deus%20In%20Adiutorium%20-%20Domine%20Ad%20Adiuvandum.mp3. License: Public Domain (composition) / Creative Commons (recording) 0:00-00:30.

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Welcome to Celebrate Creativity - Episode 475 - Echoes of Horror

Man is capable of tremendous atrocities against other individuals.

An example is The Great Chinese Famine (1959-1961): This was a period of mass starvation under Mao Zedong's Great Leap Forward. While the exact number of deaths is debated, estimates range from 15 to 55 million people. While not a direct campaign of extermination like the Holocaust, it was the result of deliberate and disastrous government policies that led to mass death.

The Soviet Purges and Gulag System where a result of Joseph Stalin's policies. This period led to widespread repression, forced labor, and mass executions. The death toll from famines, executions, and the Gulag system is estimated to be in the tens of millions, with some sources citing numbers as high as 20 million people.

The conquests of the Mongol Empire in the 13th century are considered one of the deadliest conflicts in history. It's estimated that military campaigns led by Genghis Khan and his successors resulted in the deaths of tens of millions of people, though a precise number is impossible to determine.

And while these events often had a higher total number of victims, the Nazi Extermination Efforts - or Holocaust - is distinguished by its systematic, state-sponsored industrial-scale goal of exterminating an entire people.

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When people talk about the most successful writers of all time, one name is almost always among the first: J. K. Rowling. The author of the Harry Potter series didn’t just sell books — she created a cultural earthquake. For millions of readers, Hogwarts was not a fictional castle, but a place they knew as well as their own schools. Her novels inspired midnight release parties at bookstores, fan conventions that filled stadiums, and a cinematic franchise that grossed billions. Children who had never finished a book before suddenly tore through six- and seven-hundred-page volumes.

Adults, too, found themselves sneaking the books into briefcases or pretending they were buying them for their kids.

“But Rowling’s brilliance didn’t appear out of nowhere. She was inspired by the masters who came before her, most notably Charles Dickens. In Dickens, she found a model for eccentric characters, worlds that felt alive, and the courage to confront cruelty — especially towards children. Much like Pip, Oliver, or the young heroes of Dickens’ novels, Harry and his friends navigate a world that can be frightening, unfair, and full of moral complexity.”

Rowling herself has acknowledged Dickens as a major influence, and it’s easy to see why. Dickens’ novels often center on children navigating worlds that are harsh, unfair, and sometimes cruel — think of the orphaned Pip in Great Expectations or Oliver Twist in Oliver Twist. Similarly, Rowling’s young protagonists face dangerous and sometimes frightening circumstances: orphaned Harry navigating a neglectful household, children confronting magical and moral threats, and characters whose lives are shaped by the indifference or cruelty of adults.

Rowling also mirrors Dickens in her love for eccentric and vividly drawn characters. From the strangely named and larger-than-life figures in Dickens’ novels to the magical teachers, ghostly ancestors, and quirky classmates at Hogwarts, Rowling populates her books with personalities so distinct they feel almost tangible. Each character, no matter how minor, contributes to the richness of the world, giving readers a sense that they are peeking into a fully realized society.

Cover art:

Image of J.K. Rowling, Daniel Ogren, CC BY 2.0 , via Wikimedia Commons

Image of J.K. Rowling, courtesy of Wikimedia Commons, licensed under CC BY-SA 4.0

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Toni Morrison shows us that literature can be both beautiful and necessary. That stories, especially the hard ones, can teach us how to see, how to remember, and maybe even how to heal.

Morrison's importance stems from several key aspects of her work:

Her novels powerfully explore the complexities of Black life in America, often focusing on the perspectives of Black women and girls. She intentionally did not center the "white gaze" in her writing, instead creating a "canon of black work" that spoke directly to Black audiences.

Now let me take a detour and deal with the concept of a “white gaze” in an individuals writing. The "white gaze" in literature refers to the unconscious assumption that the default reader is white. This forces authors of color to constantly consider how their work will be perceived by a white audience. This can lead to over-explanation, where authors feel the need to explain cultural nuances, historical context, or even everyday customs of their communities. Characters and situations may be simplified to fit preconceived notions of a white readership - in other words stereotyping. Writers may avoid certain topics or narrative choices for fear of alienating, confusing, or being judged by a white audience - also known as self censorship.

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"Before Narnia ever existed, C.S. Lewis had a secret weapon: a band of Oxford friends who argued, challenged, and inspired him—the Inklings."

Think C.S. Lewis wrote The Chronicles of Narnia all by himself? Think again. Lewis was part of the Inklings, a group of Oxford professors, writers, and thinkers who met to read aloud, debate, and challenge one another.

When we think of CS Lewis today, we often picture The Chronicles of Narnia, or his rational, graceful Christian apologetics. But to really understand him, we need to see him inside a unique circle of writers and thinkers: the Inklings—a group that met in Oxford in the 1930s and ’40s to read aloud, critique, and sometimes spar over each other’s works.

In fact, I was aware that C.S. Lewis was an extremely influential modern writer when I began this episode and intended to write it just about Lewis, but came to quickly realize that he was only a part of the “creative puzzle.

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=Eugene O'Neill's development as a playwright was deeply rooted in his turbulent personal life and a deliberate rejection of the popular theater of his time. He evolved from a young man adrift to become a revolutionary force in American drama.

O'Neill's upbringing was steeped in theater, but not in a way that he admired. His father, James O'Neill, was a successful actor known for a single, melodramatic role - that of playing Edmond Dantès in a stage adaptation of Alexandre Dumas's novel, The Count of Monte Cristo.

James O'Neill first performed the role of Dantès in 1883 and it became his career-defining part. While it brought him immense financial success, he felt trapped by it, as audiences only wanted to see him in that role. This frustration over his squandered artistic talent became a central theme in Eugene O'Neill's autobiographical play, Long Day's Journey Into Night, where the father figure, James Tyrone, is a famous actor who regrets giving up classic roles for a lucrative, but repetitive part.

Eugene O'Neill grew up on the road, traveling with his father and witnessing firsthand the "ranting, artificial" nature of the American stage, which he grew to despise. He wanted to create something more profound and truthful.

He lived a restless and often desperate life, working as a sailor, a prospector, and a journalist. These experiences exposed him to the harsh realities of life and the people on the fringes of society—sailors, derelicts, and prostitutes—characters who would become central to his works.

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