https://www.thelowestoflow.com/post daily 0.75 2026-08-13 https://www.thelowestoflow.com/post/behind-the-scenes-the-making-of-mecha monthly 0.5 2026-08-13 https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/6140017f-0505-4548-8d0c-ad27ed2e4aac/TURFPosterwBG.png BLOGGISMO - Behind the Scenes: the Making of “Mecha” - This was the first full album I was able to put all my energy into making after quitting my translation job. as much as I’d enjoyed translation work, the swift downward pressure on the pay and the increase in workload thanks to the wide adoption of AI translation algorithms to replace us all meant that even if I’d wanted to, continuing really wasn’t an option. This, of course, got me thinking about the shiny glorious future in which humans would have boundless leisure and robots would perform all the work which it was neither necessary or profitable for humans to continue doing. I t was (in 2018) fascinating to think about what kind of system changes (in terms of productivity and economics) would necessarily have to happen to make the replacement of most or all of the human workforce with AI robots actually work. After all, I’d more or less “lost” my job to robots, but I had nothing coming in to support me. The ready answer, of course is to say “Humans will have the time to pursue more creative lines of work.” Well, this is true, and that’s what I’m doing now, full-time. It still doesn’t pay though. But it did mean that I now had time to create “lyrics sheets” for each song on the album (the first time I did this), and to start developing the website the streetwear, etc. According to the Geneva-based World Economic Forum (WEF), I was by no means alone in losing my job to robots. The Swiss think-tank reported in September 2018 (a month before this album was released) that 29% of jobs previously filled by humans had already been taken over by robots (or AI). They warned that this would likely rise to 52% by 2025, calling it the “fourth industrial revolution” (after coal, assembly-line, and silicon, I guess), but also stressed that this should not be a cause for concern for the 75 million people who were likely to lose their jobs before 2022, since they also predicted that new, different jobs would be created at a faster rate than they were lost. Presumably this is what I experienced when my workload shifted to “correcting” computer-translated rubbish instead of translating it from scratch — a much lower paying, more labour-intensive job than I had before. One that, ultimately, was not worth doing. (It seems I was not the only one to feel that way either — the company has now gone bankrupt and no longer exists) Anyway, thinking about all the enthusiasm in the news and among the bosses in my prior field of work, and hearing figures bandied about like this, I thought it would be interesting to explore these ideas in music. But not the usual idea of robots going “bad” because of faulty algorithms or viruses, and brave humans triumphing through clever-feely-human stuff that keep them at the top of the world. That’s already been done to death in science fiction since “2001: A Space Odyssey” put it into the public imagination so vividly. I wanted instead to think in terms of this “fourth industrial revolution” actually working, and allowing it to evolve naturally over time from the current-day Western religious and economic systems already in place (Levantine religion and Capitalism). I wanted to depict a world in which that whole awkward transition had already happened several hundred years ago. Economic readjustments, cultural changes, improvements to agriculture and environmental amelioration, had all been successfully managed. A stable One World system under “the Corporation”, propped up by the control and ownership of not just the means of production, but also of those things which sustain human life itself, had been somehow successfully implemented, with the blessings and thanks of the human population. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/efb181d0-004f-4ae7-95b2-a696afeb3fd2/TURF+Paint.png BLOGGISMO - Behind the Scenes: the Making of “Mecha” - Naturally, the question arises, what sort of human psychology presents itself in such an atmosphere of truly effortless ease, comfort and security? If, through technology, humanity really does manage to usher in a Golden Age in which peace, prosperity and stress-free plenty truly exist for every human, and if human ingenuity and growth are spurred by challenges, problems and danger (as the flow of history seems to suggest), with what can humans in such an efficiently regulated, settled and perfectly working system occupy themselves? I’m betting they are not dissimilar, psychologically speaking, from the comfortable and “privileged” people of today. The society seems to have maintained humans at the top of the pile, with underclasses of robots in all service roles, and “one who does nothing can do no wrong” after all. I therefore came to the conclusion that, even if such a glorious Golden Age were achievable by humans, the very nature which enabled them to create such a system would also be their undoing. The blind spots we have about ourselves and the cosy assumptions we make about our own natures will cause cracks in any edifice. Boredom may well breed strange practices, and cruelty-for-cruelty’s sake (for the sake of at least some kind of conflict, some feeling of being alive) will find its way into the treatment of domestics, in particular, just for something to do in people who have been socially conditioned to worship power and control (for the sake of stability). After all, even “extreme sports” are safe now, and anything genuinely thrilling and dangerous is, by law, undertaken by algorithmic servants. We know from the conditions depicted (for the Feminist Sexbot who spearheads the uprising, for the Coffee Machine on the run from the “Scrapman”, for all the algorithmic races) that the members of these underclasses are not treated as equals by the majority of humans who benefit from their ceaseless labour and service. They do not have the same rights as humans. So… yeah. That was the starting premise, and this was the story that unfolded from there. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/968786b6-8987-4e69-bf85-e282fce6020c/The+Lowest+of+Low+Coffee+Machine.png BLOGGISMO - Behind the Scenes: the Making of “Mecha” - Scrapyard Blues was a particular triumph for me. Not just because I love the Coffee Machine character, but also because I love the blues. I’m actually a blues guitarist, in that, if you hand me a guitar and say “play something!” I’ll play the blues, every time. And I have long adored the very early, raw kind of blues recordings of maestri like Robert Johnson. The fact that this kind of blues *exactly* served the story and the changes this character goes through pleases me, even now. What also pleased me was that *because* it served the story so perfectly (opening out the understanding of why supposedly “criminal elements” join readily in revolutionary causes), I busted through my inhibitions about recording something so kind of “raw” and spare. It has 3 tracks, and took 3 runs. Two for the guitars, and one for the voice. No re-takes. it was the easiest song I ever did, and it felt like I didn’t even “write” it. I wrote up and sang the lyrics, and being straight blues, the rhythm guitar was pretty standard. And I just… did the melody guitar in one go. It took maybe all of 20 minutes to come together, lyrics and all, and maybe another 15 minutes to mix. I added a 4th echo track with a strange “moving spaces” effect on the voice afterwards, in mixing, to create the metallic swishing noise that lends the feeling that this poor coffee machine has been through some real blues-worthy trauma, and he’s … not really “all there” anymore. I also think that we catch a glimpse into a whole world of forgotten, abandoned robots (outside the normal, perfect purview of the carefully managed social system set out by the Corporation) that we can easily identify with the conditions in which Robert Johnson and countless other black Americans of his time (and for that matter, our times) also lived. I think that by hearkening all the way back to those roots, Scrapyard resonates, and I’m proud of that. I actually feel like most of these songs “wrote themselves”, but Scrapyard also happened to be a personal triumph for all these reasons. I’d actually stopped playing guitar for 20 years before this, I had a lot of serious trauma that stopped me picking it up again. So there was that, too. I’m fairly pleased with the whole album as a piece of writing and as a complete recording, even now, especially since I’ve always kind of seen it as an animated film, and I now have actual art skills that could help me to (one day) make that. I don’t think it’s a project idea I’m necessarily done with yet. I think the ideas adumbrated in the album are still very relevant, moreso now than when it came out. it’s just a pity that it came too early, four or five years before the human population of earth had started to learn about AI, LLMs and the future planned out for them, so no one even knew it had come out, or understood what it was about when it came out. If there’s still a world or humans left when I make the animation(s) for it, maybe people will enjoy it then. https://www.thelowestoflow.com/post/cd-digipacks-are-here-all-albums-the-long-story monthly 0.5 2026-08-13 https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/2a3a1699-7687-4c94-a887-a40512be544f/Line+of+The+Lowest+of+Low+CDs.png BLOGGISMO - CD Digipacks: The Long Story - Make it stand out Here’s the lineup… https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/9c30d9df-8f19-44ea-a692-a9c54c698c5c/Babylon+Digipack+02.png BLOGGISMO - CD Digipacks: The Long Story - Make it stand out (physical media is as ancient as human civilisation) https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/eb9a5ba9-134e-4ca3-b924-ea003d8c6161/Jukebox.png BLOGGISMO - CD Digipacks: The Long Story - My next distinct musical memory was a bit later, and a little more embarrassing. I was a toddler, maybe two years old. I don’t think I could speak yet. For something to do, my family would go to the shopping mall and look at stuff. I don’t know what my mother would look at while we did this (cooking pots were nearby, so maybe it was cooking pots), but my dad would always take me along with him to look at the stereo equipment in Hess’s department store. They had a stunning 45rpm record-playing jukebox on display with beautiful colourful lights that I seem to remember flashed or pulsed along to the music. And Elton John’s “Bennie and the Jets” came on. Transfixed, I remember losing myself in the lights and the strong, rhythmic piano chords, and kind of “dancing” (toddler squat-bobbing, really) along to it, daydreaming in my own little brightly-coloured world. When I “came to” at some point in the song, my dad was smiling and strangers were laughing and chatting with him. A ring of amused adults had formed around this crazy music-entranced toddler, and I was surprised and quite embarrassed by it all. But that experience still gives me a slightly embarrassed fondness for "Bennie and the Jets" if I happen to hear it. colours and lights, heady stuff https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/a92370d8-1008-410d-b2c4-6b56efaee9bd/JohnCKoss.jpg BLOGGISMO - CD Digipacks: The Long Story - On evenings and weekends when he was home from work, my dad would let me help pick out albums to listen to together. There were certain songs, sad songs, that would make me spontaneously burst out crying, and couldn’t be played (Like “Poem for the People” by Chicago. “25 or 6 to 4” was ok though.) “You see? That means they did a good job. There’s a lot of sad feeling in that song, especially in the beginning, but it’s also really good because of that.” My dad would tell me. Then maybe we’d put on some Spike Jones to cheer me up and make me wild and wakeful just before bed. Sometimes he’d listen to the sad songs in his (original) Koss Pro 4/AA headphones. These were the first headphones I ever had the pleasure of using. I had some idea that they were from the military, maybe because of the olive colour of them, but I realise now they were industry standard headphones of the time. My dad was a drummer, and good headphones were important to him. This is not a photo of my dad. My dad rarely wore a suit, and when he did, he had a special “suit face” to wear with it. Very serious and, frankly, uncomfortable-looking. But that is tangential to the story at hand. This is John C. Koss. In 1958, he changed the way people listen to music when he invented the world's first Stereophone, the SP/3. In 1970, Koss would set the standard for full-size professional headphones with the introduction of the Pro/4AA, the headphones you see him wearing here. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/078d26b5-bb65-481b-8423-8baabfe71c00/ELO+Out+of+the+Blue+Album+Both+sides.png BLOGGISMO - CD Digipacks: The Long Story - Make it stand out (I thought ELO had come from another planet.) https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/03792663-2167-4f0a-a690-2d3db103dacd/Close+Encounters+Spaceship.png BLOGGISMO - CD Digipacks: The Long Story - Make it stand out (Music and lights. At age 3 or 4, your brain resolves all this to be one and the same thing from different points of view. Or mine did, anyway. I still love mashed potatoes. And huge, deep bass notes.) https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/e6acd81d-e6b6-4f75-adb8-74d1f220baf9/Fisher+Price+Phonograph+Record+Player.png BLOGGISMO - CD Digipacks: The Long Story - By the time I was about four, my dad had taught me how to properly handle a record, and how to operate the turntable (although, because it lived on a shelf that was a bit high for me, he mostly did it, or would lift me up so I could carefully place the needle onto the record sometimes). Sometime after that, I got my own Fisher-Price record player as a birthday present. My parents put all their vinyl 45 records (cute small singles with b-sides), maybe about a hundred of them, into a sturdy boot-sized shoebox, tossed in a few of those mystical yellow spoke-converter thingies, and said “listen to what you like!” There were a lot of great Motown records in there which I’d listen to over and over, together with my two favourites, “Fire” by The Crazy World of Arthur Brown, and “Born to be Wild” by Steppenwolf. My grandparents bought me some albums of my own to go with it, too. There was the Original Cast Recording of The Sound of Music, The Muppets disco album. “Sesame Street Fever” (which I’ve heard again recently on Youtube, and it’s a masterpiece), another Muppets album with a great version of that song that goes “ma-nam-a-non…doo dooo do doo do” on it, and the then-ubiquitous double album Frampton Comes Alive. Later, at Christmas, were added the soundtrack to Flash Gordon by Queen, and the Best of ELO album, the one that looks like a military medal pinned to a brown uniform. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/1003bc18-98dc-41a0-a82f-30b20097810c/Sesame+Street+Fever+Album.png BLOGGISMO - CD Digipacks: The Long Story - Make it stand out Beautifully made album, well produced, with extremely catchy songs. It’s probably made a greater impact on me than I consciously realise. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/456d95f8-3c1d-4f09-b5e0-0be2a96233af/Columbia+Tape+Club+Ad.png BLOGGISMO - CD Digipacks: The Long Story - (Columbia House: resistence was futile) And one of the things that would fall out of catalogues, TV Guides or newspapers, was Columbia House. A printed self-sealing envelope kind of thing that would fall out of magazines with lists of albums and their artists and tiny little tick-boxes next to each one. You picked something like 20 of them, or whatever the deal happened to be, and sealed it up with a penny inside with the promise to buy 3 more tapes within the next year at regular price. Tapes weren’t usually that expensive, so it was still a generous deal, and once your3-tape obligation had been fulfilled, you could cancel your subscription and make a new one. Some tapes had little fold-out sleeves with printed lyrics, but these were never quite as satisfying as vinyl album art and sleeves. The format was probably pretty awkward to do anything really nice with, and it felt like most tapes didn’t have all that much thought into making them something special, apart from getting the album you want in a cheap and portable format. The plastic cases were very brittle and broke easily (sometimes before you even got them), especially around the hinges. Everything about the tapes felt kind of…. mass produced. Well, of course they were, so were record albums, but those didn’t feel cheap like the tapes did, and weren’t flogged around in such a way that everyone you knew had all the same music the way tapes were. The tapes were fiddly, too, prone to going wrong, getting too tightly or unevenly wound over time, or getting eaten by the player. I can't really explain the panic you'd feel when you'd put a tape on to play and heard the hissy silence of the beginning for a little too long. I hear cassette tapes are having something of a niche resurgence, so maybe you'll have that pleasure sometime. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/91bc9ff4-229c-4346-a34f-a5f930ee8d4f/Styx+The+Grand+Illusion+Cassette.png BLOGGISMO - CD Digipacks: The Long Story - At a certain point in time in the 1980s, this tape, “The Grand Illusion” by Styx was owned by every family. The history of Columbia House, and the tape deals that put bands like Styx, Foreigner, Icehouse and Toto into every single household and car in the continental United States, is a fascinating tale. As a direct result of their aggressive “Tape Club” marketing, musical buying habits were shifted, not so much by choice, but by availability and cost-effectiveness. Even after the Columbia House virus had run it’s mail-in course, the landscape remained changed. Record sections in department stores and mall music shops grew smaller and eventually disappeared, replaced with stacks and stacks of cassette tapes. The last record I bought before they disappeared was Led Zeppelin’s “Physical Graffiti” album. I was older now, but I was still always really pleased with record packaging that did something unexpected. I liked the Led Zeppelin 3 album with the farmer’s wheel kind of thing, and Physical Graffiti had windows cut into the outer sleeves, printed to look like brownstone buildings. Depending on how you faced the inner paper sleeves, you got different people and things in the windows. Tapes also revolutionised how bands could get their music heard, build audiences, and find representation (the age of portable demo tapes and mixtapes had arrived). I grew up living in a small river town in New Jersey near New Hope, where Ween grew up. The first time I heard them was on a cassette tape they’d produced themselves and sold locally (I tell a small lie, since the first time I ever, ever heard them was… a different story). I’m pretty sure some kind of Moistboyz tape was making the rounds in a similar way at one point. From there, they were able to distribute tapes with a small independent label based in New York, an organic growth that ended in their big early “breakthrough” album Pure Guava (which I still love with all my heart) coming out on Elektra, I think. For kids in those podunk river towns, that is an incredibly huge, very big deal. But anyway, I digress a little and get ahead of the timeline… https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/a9e6acaf-deb7-49e3-8900-de2540d210b8/DAK+Industries+Catalogue.png BLOGGISMO - CD Digipacks: The Long Story - My dad built himself a beautiful sound system with components from an amazing catalogue called “DAK” and also got me an all-in-one turntable, dual cassette FM radio and CD tower made by Magnavox. I wish I still had it. I still have some old "metal" cassette tapes with the DAK branding on them that he got for free when he ordered his HiFi components. The first original music recording I ever made was using headphones as a microphone with an adapter jack that also picked up am radio waves and put them into every recording, plugged into the wonderful Magnavox tower, and recorded on one of those DAK tapes. It was a raga-style piece played on an acoustic guitar in DADGAD tuning. I used two tapes and the dual-cassette setup on the Magnavox to record the two different parts (a drone and a melody), one after the other, playing along with one tape while recording on the other in mono, on one side (the drone was recorded using the right-hand input, and the melody using the left, so they'd both turn up on one tape). It's still around in my office drawers somewhere, and I've never played it to anyone. (I remember looking through every page of the DAK catalogue, which came out I think four or maybe six times a year. These, and The Sharper Image catalogues were my favourites.) https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/ecfbe67f-9314-45f8-9323-617dd9c6fae8/Bennie+and+Artie.jpg BLOGGISMO - CD Digipacks: The Long Story - Make it stand out I wanted to learn clarinet at school, but my parents feared it would make me "goony". It, eh… meant something else back then. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/51438834-1438-45aa-bfaf-36f064084d15/Sony+Discman+1986.png BLOGGISMO - CD Digipacks: The Long Story - (Magnificent, robust technology) There were a lot of old albums getting chucked out onto CD after the technology took off — “AAD” transfers (Analogue Recording to Analogue Master, to Digital media). They were cheaper than new releases. The reproduction maybe wasn’t as clear as ADD or DDD reproductions, but they were still amazing and clean compared to old records and hissy tapes, and so long as you treated them with reasonable care, they were unlikely to get destroyed or “eaten” by the mechanisms that played them. It also felt so cool to think that the music you were hearing came from a friggin’ laser beam. Surely planetary exploration and flying cars were just around the corner… The age of the CD had definitely arrived, slowly displacing pre-recorded tapes in the big record stores. It was probably a big win for the large record companies and their sales sheets. releasing back catalog stuff on cheap CDs was money for old rope, after all. And I think, following on from tapes (very few of which came with extensive artwork because of the small format, even when the original lps did), a lot of these mass produced back-catalogue CDs set the tone for the art to be… kind of cheap and desultory, nothing paerticularly inspiring, on the whole. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/a4e1b18e-2e87-495f-87bb-0ceea7c7e3ea/Empire+03.jpg BLOGGISMO - CD Digipacks: The Long Story - Make it stand out Ce n'est pas un boîtier de CD en plastique fragile. I’m pretty proud of this Trompe-l'oeil style digipack design. Not only does it have a big crack, scratches and a sticker, it even simulates how some CD booklets were always slipping slightly out of the case. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/1b73aec7-deb6-48f2-96cf-5b69059b5510/Authentic+STEREO+Sound.jpg BLOGGISMO - CD Digipacks: The Long Story - Sometimes there was a pretty decent booklet inside the jewel case, with a (small) reproduction of the fronts and backs of the album, and maybe a few pages of stuff inside, so not all of them were all that bad. Indifferently printed, I think, but not always. Newer albums had better, more well-thought out booklets sometimes, but it often felt like the attention to artistry in the packaging and an understanding of an album and its artwork as a whole and integrated entity had mostly died out. These were mass-produced physical products to convey musical recordings (and money-for-old-rope to the record companies), not really necessarily artistic creations in their own right, and I think that's where the "tarnish" comes from in people's ideas of cds as a musical media format. If an artist bothered to add some artwork into the booklets, it was a nice thing, but not an integral part of the experience in the same way that it was with vinyl lps. I remember that Pink Floyd’s “The Final Cut” had some nice art included, and that it was something of a surprise by then. Of course, tapes were not dead. They were still an invaluable way for bands to get their music out there, since CDs were, at that point (and maybe that was the point) very much in the domain of Big Record Companies, and in the shrinking back de-democratization of music shop space, the best way to get your music out was still to make demo tapes. If you got signed to a big enough record company, you might get a CD. It was the only way until CD-R machines and media filtered down into the consumer electronics market. Even then, those were expensive compared to tapes and tape players, and the results looked pretty naff and unprofessional (CDs with glued-on paper labels or marked with permanent marker and photocopied jewel case inserts). https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/77d6626d-451a-4364-883a-de2e878f6814/KMFDM+Angst+stencil.png BLOGGISMO - CD Digipacks: The Long Story - By contrast to the increasingly ghastly and always-broken-in-at-least-one-way cheap CD cases, I was really pleased and impressed the first time I saw a CD digipack. It was back in 1993, I think, KMFDM’s ANGST. It’s got a die-cut inner sleeve that looks like a stencil... well, I guess is a stencil, come to think of it... maybe not the most beautiful thing, but the idea was exciting. I liked that with digipacks there was more attention to the CD sleeve as an object that can spark joy in its own right and add meaning and impact to the music, the art returning to support the music experience. https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/6a750205-fbce-4ffa-98a0-34d5a2db58a2/satellite+roof.jpg BLOGGISMO - CD Digipacks: The Long Story - I got my satellite internet back up and running after about a month of these corporate shenanigans (it took one phone call, 5 minutes: thank you, Nova Quadri), but a month had already passed in which I could not produce the show with any digital media at my disposal. So I used my CD collection. I felt a little badly because I wasn't able to play much of anything new in those shows, but still: physical media for the win! I wound up going through all my old CDs, trying to cobble together about a month’s worth of radio shows from them, and although most are pretty standard jewel case affairs, I still remember lots of things about when I got them, how I felt as I first listened and looked through the booklets (if they had them), and where I was in life at the time. They may not have had the magic of the old records in my childhood, but they still held something for me, and having them in a big drawer years later, just looking through them brought back memories I didn’t even remember I had. I hadn't really listened to some of them in years -- there's some great and well made music in that drawer! (My rooftop satellite internet, as shown in "Attack of the Algorons") https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/4cfb5a9c-1957-47da-ac8d-519352ac6687/Nekro+CD+5.jpg BLOGGISMO - CD Digipacks: The Long Story - Make it stand out (Nekrololikon is a double album on two CDs, and banned without explanation by Spotify. This is the inside of the digipack.) https://www.thelowestoflow.com/post/revisiting-thucydides-melian-dialogue-in-2025 monthly 0.5 2026-07-31 https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/ed7343e7-9cc1-44e8-a5c5-52eeb7355972/Thucydides+blue+sky.png BLOGGISMO - Revisiting Thucydides' Melian Dialogue in 2025 - Make it stand out [photo — Thucydides, General and Historian. He saw some things, boy howdy.] https://images.squarespace-cdn.com/content/v1/6a608d147876823332958a66/155fece3-5499-4a2a-91c1-ae70b1cb8aee/Solon+of+Athens.webp BLOGGISMO - Revisiting Thucydides' Melian Dialogue in 2025 - [photo — Solon: wise man, lawgiver, poet and good egg.] In order to put things into context, here's a little bit of what we know (itself only a little bit) about Solon: In the early 6th Century (BCE) Solon came forward as a guiding force in Athens and in 594 laid the foundations for the first democracy in our history, extending participation in governance, in a limited way, to the common people. Granted autocratic powers by the people, he repealed almost all the laws that had been put in place by his predecessor, Draco (the Lawgiver whose name today echoes in our description of governance and laws that are too heavy-handed -- that are, in a word, draconian.) and set in place a system more clement and fair. Having enacted his powerful world-changing reforms, Solon then promptly resigned and exiled himself abroad for ten years, so that he would not be tempted (or encouraged by others) to repeal any of the laws he'd set in place, knowing well that “Powerful men pull the city down.” He did not want his own power to corrupt him, or his own self-interest to interfere with the system he had worked to create. He didn't want to mess it up. With some significant challenges and checks along the way, Solon's reformed Athens, unburdened by the barbaric past from which she was emerging, continued to grow and to foster a flowering of civilisation that we still celebrate today. By 490 (BCE) the flower had bloomed. As Hamilton puts it, “What followed was one of the most triumphant re-births of the human spirit in all history, when the bitter differences that divide men were far in the background and freedom was in the air -- freedom in the great sense, not only equality before the law, but freedom of thought and speech.” After arduous struggle and the final defeat of the Persians in 480 BCE, the Athenians were chosen to lead a new confederacy of Free Greek States. It was an honour and a duty awarded to them by virtue of the fact that they had shown themselves to be capable of acting impartially, with generosity, and without putting their own interests above those of the other member city-states or angling for their own advantage. They were viewed, and indeed had comported themselves even in war, as true “children of Solon”. And so, for a brief and glittering time in human history, Athens became the leader and protector of what was then the Free World. It didn't last long though. Solon had warned a century before that “Men are driven on by greed to win wealth in unrighteous ways, and he who has most wealth always covets twice as much.” We already know what he had to say about powerful men. To quote Hamilton again, “In less than a generation the city that had been the champion of freedom had earned the name of Tyrant City... There are changes, even violent ones, in a state which do not affect the character of the people. But this change went deep down to the very roots of religion and morality." Amazed at their final and decisive victory over the Persians, Athens took it as evidence that the world was indeed goverened by a Divine Justice, mysterious to humans, in which even the strongest (individual or nation) who tramples the rights of others inevitably finds punishment. 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