In an ancient tomb, Richard Pryor discovers humanity's secrets... and his colleagues can't take it.
First aired on the Richard Pryor Show on September 20, 1977
15 February 2011
14 February 2011
Love Among the Ruins
Happy Valentine's Day from Archaeopop and Robert Browning. 'Love Among the Ruins' (1852, first published in Men and Women, 1855)Where the quiet-coloured end of evening smiles, Miles and miles On the solitary pastures where our sheep Half-asleep Tinkle homeward thro' the twilight, stray or stop As they crop-- Was the site once of a city great and gay, (So they say) Of our country's very capital, its prince Ages since Held his court in, gathered councils, wielding far Peace or war.Now the country does not even boast a tree, As you see, To distinguish slopes of verdure, certain rills From the hills Intersect and give a name to, (else they run Into one) Where the domed and daring palace shot its spires Up like fires O'er the hundred-gated circuit of a wall Bounding all Made of marble, men might march on nor be prest Twelve abreast.
13 February 2011
Music to Dig By: Pink Floyd plays Pompeii
In October 1971, Pink Floyd recorded six songs in the amphitheater of Pompeii, without an audience. The film 'Live At Pompeii' was released in 1972 (and a director's cut in 2003).
Super epic and purely theatrical at the same time. The lack of an audience symbolizes what happened with progressive rock: the 18-minute jam became the end in itself, without the need to hold a live audience. 'Album-oriented rock' is meant to listen to at home, alone, and stoned, so you don't mind the fact that the song never ends.
Still sounds rad though. Here's 'Echoes', Part Two:
12 February 2011
11 February 2011
UFO Phil Wants to Build a Pyramid on Pike's Peak
I have to admit, Photoshop makes this idea seem almost cool.
'UFO Phil' is a comedian and writer of terrible songs about UFOs. He's been implanted with a "telepathy chip" that allows him to communicate with "Zaxon" and "Rogness", a couple of aliens from somewhere or other. Lately he's been eating out on an unlikely plan: building a replica of the Great Pyramid of Giza on top of Pike's Peak in Colorado (14,112'/4,302m). As AOL News reports, The pyramid will function as an UFO docking station. Denver's KMGH TV 7 is there with hard-hitting coverage:
Besides serving as landing stations, the pyramid will also generate free energy:
Hill alleges that the ancient Egyptian pyramids -- designed by extraterrestrials, of course -- were massive stone power stations. Through his ongoing otherworldly contacts, he's been singled out and gifted with secret blueprints and schematics. These plans, of alien design, of course, reveal how the pyramids can generate enough hydrogen gas to power everything on Earth.Apparently one alien ship brings sand, and the other brings hydrochloric acid, and they mix it in the pyramid, and it makes hydrogen, then the spaceships take it "all over the galaxy". Phil explains it to a reporter at the Colorado Springs Gazette (free energy technique at 1:52):
Dude is pretty annoying, but has some funny jokes. Building the pyramid will create jobs, since it takes so many men to lug the stones up to the top of the peak. "I can't pay them much, but I understand that was how it was done originally anyway." Priceless.
The gift shop and restaurant will be moved to a deck on the side of the pyramid.
Phil obviously came up with this pyramid thing as a media stunt to sell some songs on iTunes and turn himself into a meme. But hey, he seems to have managed it all right. In case you're not sick of this dweeb yet, he's got a facebook page, too.
09 February 2011
Three ages of denim
This month Gallery Didier Aaron in New York (didieraaron.com, via Boing Boing and NYT Magazine) is showing a newly-discovered fragment of an archaeology of daily life - an anonymous 17th century painter known as 'the Master of the Blue Jeans'. His paintings show scenes of everyday life in Italy: a barbershop, a woman sewing, a family begging, a poor child. In each one, we see a familiar blue fabric in a most unfamiliar setting.
Galerie Didier Aaron
The exhibition of seven works by this previously unknown painter was organized by Gerlinde Gruber of the Kunsthistorisches Museum in Vienna and runs in New York until February 18th. She was the one who attributed these paintings to a single artist - previously they had been attributed to a variety of other masters.
Denim is so deeply ingrained into the fabric of everyday life today (excuse the pun), that its history has been obscured. I hadn't known until today, for instance, that blue denim-like fabrics have been in use since the 14th century in Europe. The name comes from 'serge de Nîmes': it was a type of serge, or twill, made in the French city of Nimes. It was a tough material for poor people. 'Blue jeans' as a name for denim trousers seems to come from 'bleu de Genes', or 'Genoa blue', since the trousers were adopted as workwear by Genoa's navy (according to wikipedia, anyhow).
The paintings make it obvious how totally we've forgotten the early history of the fabric that rules our lives. Putting 17th century characters in denim is weird and provocative - the kind of thing you'd expect from an art student's master's thesis. Look at this kid in his thrashed, too-big denim coat. He's ruddy, a little vacant, a little fearful maybe. He looks beaten down by life, and he's probably only nine. It's radically dissonant from everything we associate with a jean jacket.
I put this dissonance down to the power of the American ideal of denim. The fabric always had totally different connotations there. Since blue jeans became the iconic look of the California gold rush, they've been associated with the frontier, with its miners and cowboys. Blue jeans were the dress of free men and adventurers - the jeans might be ragged but they say 'hard work' and 'self-sufficiency' rather than 'grinding poverty'. The paintings in the Master of the Blue Jeans exhibit not only show denim fabric, but associate it with the ragged, hunger-stalked life of the urban masses of Europe: lives of subjection to which America formed a symbolic counterpoint. They present an almost total contrast to the cowboy image.
Look at these miners: hard-working frontiersmen, not sad-eyed beggars (The Fashionary)
In the 1980s we started the third age of denim: thanks to the Hollywood-industrial complex the fabric of working men, greasers, and hippies has become a massive, globalized business that dresses billions. For the first time, we no longer pretend that denim is workwear, or supposed to be cheap. Try finding a decent pair of jeans for under $60 (I recommend 511s)! In a lot of places, wearing jeans is a mark that you've emerged from developing country gloom and joined the global society: check out, for instance, Levi's new China-focused branding and marketing efforts. Rather than signaling poverty, donning denim is now a marker of its opposite. An object lesson in the mutability of material culture, and a good reminder for the archaeologist that the meaning of objects is never fixed.
Look, they're wearing denim. But are they European beggars, or gold miners? I'm confused.
Some extra links:
More denim history is here.
Fawning yet nonetheless interesting microhistories of many luxury denim brands at Denimblog.
See the 100-year old pair of Levi's discovered in the Nevada desert.
Galerie Didier Aaron
The exhibition of seven works by this previously unknown painter was organized by Gerlinde Gruber of the Kunsthistorisches Museum in Vienna and runs in New York until February 18th. She was the one who attributed these paintings to a single artist - previously they had been attributed to a variety of other masters.
Denim is so deeply ingrained into the fabric of everyday life today (excuse the pun), that its history has been obscured. I hadn't known until today, for instance, that blue denim-like fabrics have been in use since the 14th century in Europe. The name comes from 'serge de Nîmes': it was a type of serge, or twill, made in the French city of Nimes. It was a tough material for poor people. 'Blue jeans' as a name for denim trousers seems to come from 'bleu de Genes', or 'Genoa blue', since the trousers were adopted as workwear by Genoa's navy (according to wikipedia, anyhow).
The paintings make it obvious how totally we've forgotten the early history of the fabric that rules our lives. Putting 17th century characters in denim is weird and provocative - the kind of thing you'd expect from an art student's master's thesis. Look at this kid in his thrashed, too-big denim coat. He's ruddy, a little vacant, a little fearful maybe. He looks beaten down by life, and he's probably only nine. It's radically dissonant from everything we associate with a jean jacket.
I put this dissonance down to the power of the American ideal of denim. The fabric always had totally different connotations there. Since blue jeans became the iconic look of the California gold rush, they've been associated with the frontier, with its miners and cowboys. Blue jeans were the dress of free men and adventurers - the jeans might be ragged but they say 'hard work' and 'self-sufficiency' rather than 'grinding poverty'. The paintings in the Master of the Blue Jeans exhibit not only show denim fabric, but associate it with the ragged, hunger-stalked life of the urban masses of Europe: lives of subjection to which America formed a symbolic counterpoint. They present an almost total contrast to the cowboy image.
Look at these miners: hard-working frontiersmen, not sad-eyed beggars (The Fashionary)
In the 1980s we started the third age of denim: thanks to the Hollywood-industrial complex the fabric of working men, greasers, and hippies has become a massive, globalized business that dresses billions. For the first time, we no longer pretend that denim is workwear, or supposed to be cheap. Try finding a decent pair of jeans for under $60 (I recommend 511s)! In a lot of places, wearing jeans is a mark that you've emerged from developing country gloom and joined the global society: check out, for instance, Levi's new China-focused branding and marketing efforts. Rather than signaling poverty, donning denim is now a marker of its opposite. An object lesson in the mutability of material culture, and a good reminder for the archaeologist that the meaning of objects is never fixed.
Look, they're wearing denim. But are they European beggars, or gold miners? I'm confused.
Some extra links:
More denim history is here.
Fawning yet nonetheless interesting microhistories of many luxury denim brands at Denimblog.
See the 100-year old pair of Levi's discovered in the Nevada desert.
02 February 2011
Tracking the Looting in Egypt
A decapitated mummy in the Egyptian Museum (National Geographic)
If you can spare an eye from Al Jazeera's live feed from Cairo, I want to recommend two sites tracking what we know about looting of museums and sites since the protests began in Egypt last week:
- Kate Phizackerley's (her real name!) Egyptological Looting Database covers sites around the country
- Egyptologist Margaret Maitland's Eloquent Peasant, which has a good link, video, and photo roundup updated today.
Standing guard (National Geographic).
In the fuss about the attack on the Egyptian Museum (which seems to have been orchestrated by the police for propaganda value), I hadn't heard about the thefts from less-known depots and sites (Qantara, the Coptic Museum in Cairo, Memphis, Herakleopolis Magna, Saqqara, Giza), though some of them are rumors as yet without any hard data. Let's hope that Zahi is right, and everything remains under lock and key. And props to all of the demonstrators who formed that human chain in front of the Egyptian Museum.
Nat Geo has a good article on how bloggers and ordinary people are pitching in to protect museums and recover stolen artifacts, and a good summary of the museum attack (dated Sunday), including this video:
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