Pompeii Rebuilt: A Tour of the Ancient City Before It Was Entombed by Mount Vesuvius

We can’t regard the ruins of Pom­peii, how­ev­er unusu­al­ly well-pre­served they are, with­out try­ing to imag­ine what the place looked like before 79 AD. It was in that year, of course, that Mount Vesu­vius erupt­ed, entomb­ing the ancient Roman city in ash and pumice. The exhumed Pom­peii has taught mod­ern human­i­ty a great deal about first-cen­tu­ry urban plan­ning as prac­ticed by the Roman Empire. But it’s one thing to walk the paths Pom­pei­ians walked, and quite anoth­er to see the built envi­ron­ment that they must have seen. The lat­ter expe­ri­ence is avail­able in the eigh­teen-minute video above, which uses com­put­er graph­ics to cre­ate a tour of a rebuilt Pom­peii.

This pro­duc­tion, in fact, pro­vides views of Pom­peii that Pom­pei­ians them­selves could nev­er have seen, includ­ing drone-like flights along its streets and around its famous struc­tures like the Tem­ple of Apol­lo, the Basil­i­ca, and the Forum. But even more than its grand pub­lic build­ings, the city’s pri­vate dwellings — many of them grand in their own way — have influ­enced the way we’ve built in recent cen­turies.

“With their unmis­tak­able style, they have inspired archi­tects of all times,” says the video’s nar­ra­tor. Even as urban­iza­tion reduced the size of Pom­pei­ian hous­es, they gained “rich­ness in dec­o­ra­tions,” reflect­ing the sen­si­bil­i­ty of the local cul­ture.

“Tem­ples, basil­i­cas, spas, hous­es, and a refined, high-lev­el lifestyle make Pom­peii one of the most famous cities of the Roman Empire of the first cen­tu­ry,” says the nar­ra­tor. “All of this, how­ev­er, is about to end abrupt­ly.” We all know what hap­pened next, but the extent of the destruc­tion wrought by Mount Vesu­vius takes a vivid form in the video just above, which com­pares its own CGI recon­struc­tions of these same build­ings to the ruins of today. In its time, Pom­pei­i’s refine­ment made it a well-known city, and some­thing of a show­case of Roman civ­i­liza­tion. But near­ly two mil­len­nia after its destruc­tion, it has become much more famous as a sym­bol of civ­i­liza­tion itself: its sur­pris­ing con­ti­nu­ity, but also its decep­tive fragili­ty.

Relat­ed Con­tent:

Watch the Destruc­tion of Pom­peii by Mount Vesu­vius, Re-Cre­at­ed with Com­put­er Ani­ma­tion (79 AD)

How the Sur­vivors of Pom­peii Escaped Mount Vesu­vius’ Dead­ly Erup­tion: A TED-Ed Ani­ma­tion Tells the Sto­ry

See the Expan­sive Ruins of Pom­peii Like You’ve Nev­er Seen Them Before: Through the Eyes of a Drone

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

Archae­ol­o­gists Dis­cov­er an Ancient Roman Snack Bar in the Ruins of Pom­peii

How Ancient Scrolls, Charred by the Erup­tion of Mount Vesu­vius in 79 AD, Are Now Being Read by Par­ti­cle Accel­er­a­tors, 3D Mod­el­ing & Arti­fi­cial Intel­li­gence

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Take a Trip to the LSD Museum, the Largest Collection of “Blotter Art” in the World

When Ken Kesey and his Mer­ry Pranksters kicked off Haight-Ash­bury’s coun­ter­cul­ture in the 1960s, LSD was the key ingre­di­ent in their potent mix of drugs, the Hell’s Angels, the Beat poets, and their local band The War­locks (soon to become The Grate­ful Dead). Kesey admin­is­tered the drug in “Acid Tests” to find out who could han­dle it (and who couldn’t) after he stole the sub­stance from Army doc­tors, who them­selves admin­is­tered it as part of the CIA’s MKUl­tra exper­i­ments. Not long after­ward, Grate­ful Dead sound­man Owsley “Bear” Stan­ley syn­the­sized “the purest form of LSD ever to hit the street,” writes Rolling Stone, and became the country’s biggest sup­pli­er, the “king of acid.”

What­ev­er uses it might have had in psy­chi­atric set­tings — and there were many known at the time — LSD was made ille­gal in 1968 by the U.S. gov­ern­ment, repress­ing what the gov­ern­ment had itself helped bring into being. But it has since returned with new­found respectabil­i­ty. “Once dis­missed as the dan­ger­ous dal­liances of the coun­ter­cul­ture,” writes Nature, psy­che­del­ic drugs are “gain­ing main­stream accep­tance” in clin­i­cal treat­ment. Psilo­cy­bin, MDMA, and LSD “have been steadi­ly mak­ing their way back into the lab,” notes Sci­en­tif­ic Amer­i­can. “Sci­en­tists are redis­cov­er­ing what many see as the sub­stances’ aston­ish­ing ther­a­peu­tic poten­tial.”

None of this comes as news to San Fran­cis­co fix­ture Mark McCloud. “In the same moral­is­tic man­ner many San Fran­cis­cans pon­tif­i­cate on the health ben­e­fits of mar­i­jua­na,” writes Gre­go­ry Thomas at Mis­sion Local, “McCloud and his friends tout the mer­its of acid.” Next to cur­ing “anx­i­ety, depres­sion and ‘mar­i­tal prob­lems,’” it is also an impor­tant source  of folk art, says McCloud, the own­er and sole pro­pri­etor of the infor­mal­ly-named “LSD Muse­um” housed in his three-sto­ry Vic­to­ri­an home in San Fran­cis­co.

His mis­sion in cre­at­ing and main­tain­ing the muse­um for­mal­ly called the Insti­tute of Ille­gal Images, he says, is to “pre­serve a ‘skele­tal’ rem­nant of San Francisco’s drug-induced 1960s lega­cy, ‘so maybe our chil­dren can bet­ter under­stand us.’”

Specif­i­cal­ly, as Cul­ture Trip explains, McCloud pre­serves the art on sheets of blot­ter acid. As is clear from the many pop cul­tur­al ref­er­ences on blot­ter art — like Beav­is and Butthead and tech­no artist Plas­tik­man (who named his debut album Sheet One) — the 60s blot­ter acid lega­cy extend­ed far beyond its founders’ vision in under­ground scenes through­out the 70s, 80s, 90s, and oughts.

Also known as the Blot­ter Barn or the Insti­tute of Ille­gal Images, McCloud’s house is locat­ed on 20th Street between Mis­sion and Capp. The house pre­serves over 33,000 sheets of LSD blot­ter, treat­ing them like tiny lit­tle works of art. Most of the sheets are framed and hang­ing on McCloud’s walls, dec­o­rat­ing the home with vibrant col­ors and pat­terns, and the rest are kept safe in binders. The house also fea­tures a per­fo­ra­tion board, allow­ing McCloud to turn any work of art sized 7.5 by 7.5 inch­es into 900 pieces, as is typ­i­cal for LSD blot­ter sheets.

McCloud has faced intense scruti­ny from the FBI, and on a cou­ple of occa­sions — in 1992 and again in 2001 — arrest and tri­al by “not very sym­pa­thet­ic” juries, who nonethe­less acquit­ted him both times. Despite the fact that he has a larg­er col­lec­tion of blot­ter acid sheets than the DEA, he and his muse­um have with­stood pros­e­cu­tion and attempts to shut them down, since all the sheets in his pos­ses­sion have either nev­er been dipped in LSD or have become chem­i­cal­ly inac­tive over time. (The museum’s web­site explains the ori­gins of “blot­ter” paper as a means of prepar­ing LSD dos­es after the drug was crim­i­nal­ized in Cal­i­for­nia in 1966.)

“What fas­ci­nates me about blot­ter is what fas­ci­nates me about all art. It changes your mind,” says McCloud in the Wired video at the top of the post. None of his muse­um’s art­work will change your mind in quite the way it was intend­ed, but the mere asso­ci­a­tion with hal­lu­cino­genic expe­ri­ences is enough to inspire the artists “to build the myr­i­ad of sub­ject mat­ter appear­ing on the blot­ters,” Atlas Obscu­ra writes, “rang­ing from the spir­i­tu­al (Hin­du gods, lotus flow­ers) to whim­si­cal (car­toon char­ac­ters), as well as cul­tur­al com­men­tary (Gor­bachev) and the just plain dement­ed (Ozzy Osbourne).”

The muse­um does not keep reg­u­lar hours and was only open by appoint­ment before COVID-19. These days, it’s prob­a­bly best to make a vir­tu­al vis­it at blotterbarn.com, where you’ll find dozens of images of acid blot­ter paper like those above and learn much more about the his­to­ry and cul­ture of LSD dur­ing long years of pro­hi­bi­tion — a con­di­tion that seems poised to final­ly end as gov­ern­ments give up the waste­ful, pun­ish­ing War on Drugs and allow sci­en­tists and psy­cho­nauts to study and explore altered states of con­scious­ness again.

Relat­ed Con­tent: 

Artist Draws 9 Por­traits While on LSD: Inside the 1950s Exper­i­ments to Turn LSD into a “Cre­ativ­i­ty Pill”

When Michel Fou­cault Tripped on Acid in Death Val­ley and Called It “The Great­est Expe­ri­ence of My Life” (1975)

New LSD Research Pro­vides the First Images of the Brain on Acid, and Hints at Its Poten­tial to Pro­mote Cre­ativ­i­ty

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Sound of Subways Around the World: A Global Collection of Subway Door Closing Announcements, Beeps & Chimes

The next L train is now arriv­ing on the Man­hat­tan bound track. Please stand away from the plat­form edge. 

Thus begins Brook­lyn sax­o­phone-per­cus­sion trio Moon Hooch’s “Num­ber 9.”

Any­one who’s tak­en the train into the city from Bush­wick or Williams­burg two or three times, you should be able to chant along with no trou­ble.

Mind the gap!” is a sen­ti­men­tal favorite of both native Lon­don­ers and first time vis­i­tors nav­i­gat­ing The Tube with fresh­ly pur­chased Oys­ter Cards.

Res­i­dents of Mon­tre­al are just­ly proud that their Metro’s clos­ing doors sig­nal is a near twin of Aaron Copland’s “Fan­fare for the Com­mon Man.”

Civ­il engi­neer Ted Green has been doc­u­ment­ing the mass tran­sit sounds that cue pas­sen­gers that the sub­way doors are about to close since 2004, when he logged 26 sec­onds on the Pic­cadil­ly Line in Lon­don’s Rus­sell Square Sta­tion:

In 2003 I used the Rus­sell Square sta­tion dai­ly for a week and it’s the first announce­ment that caught my atten­tion… Back then the Pic­cadil­ly Line did not have on-train sta­tion and door clos­ing announce­ments, it had the beeps, but the sta­tions in cen­tral Lon­don had auto­mat­ic announce­ments from plat­form speak­ers aimed at the open train door. Once the Pic­cadil­ly Line received on-train announce­ments a few years lat­er, this announce­ment was phased out.

Over the course of a decade, the project has expand­ed to encom­pass announce­ments on sub­ur­ban rail, rail­ways, trams, and light rail.

His trav­els have tak­en him to Asia, Aus­tralia, Europe, and North Amer­i­ca, where curios­i­ty com­pels him to doc­u­ment what hap­pens dur­ing “dwell time,” the brief peri­od when a train is dis­gorg­ing some rid­ers and tak­ing on oth­ers.

Whether the canned record­ing is ver­bal or non-ver­bal, the intent is to keep things mov­ing smooth­ly, and pre­vent injuries, though pas­sen­gers can become blasé, attempt­ing to force their way on or off by thrust­ing a limb between clos­ing doors at the absolute last minute.

Green’s incred­i­bly pop­u­lar video com­pi­la­tions aren’t near­ly so har­row­ing.

As he told The New York Times’ Sophie Haigney and Denise Lu:

I think the appeal is the sim­plic­i­ty. You won­der, how can there be so many dif­fer­ent vari­a­tions of beeps? And then you lis­ten, and they’re all so dif­fer­ent.

The pan­dem­ic only increased his audi­ence, as locked down com­muters found them­selves long­ing for the sound­track of nor­mal life.

It’s the same impulse that led soft­ware devel­op­er Evan Lewis to make an app of New York City sub­way sounds.

For those who want to bone up on their lines, infor­ma­tion design­er Ilya Bir­man, author of Design­ing Tran­sit Maps, has script­ed lists of Lon­don Under­ground and New York City sub­way announce­ments.

And Brook­lyn-based Met­ro­pol­i­tan Tran­sit Author­i­ty work­er Fred Argoff’s zine Watch the Clos­ing Doors ush­ered civil­ians behind the scenes, some­times explor­ing oth­er cities’ sub­way sys­tems or, in the case of Cincin­nati, lack there­of.

Read­ers, do you have a fond­ness for a par­tic­u­lar under­ground sound? Tell us what and why in the com­ments.

Relat­ed Con­tent: 

Ani­mat­ed GIFs Show How Sub­way Maps of Berlin, New York, Tokyo & Lon­don Com­pare to the Real Geog­ra­phy of Those Great Cities

How the Icon­ic Col­ors of the New York City Sub­way Sys­tem Were Invent­ed: See the 1930 Col­or Chart Cre­at­ed by Archi­tect Squire J. Vick­ers

Design­er Mas­si­mo Vignel­li Revis­its and Defends His Icon­ic 1972 New York City Sub­way Map

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday

Carl Sagan Answers the Ultimate Question: Is There a God? (1994)

Some pub­lic intel­lec­tu­als asso­ci­at­ed with sci­ence court dis­agree­ment with reli­gious believ­ers; oth­ers cul­ti­vate suites of rhetor­i­cal tech­niques express­ly in order to avoid it. While Carl Sagan did­n’t shrink from, say, debat­ing a cre­ation­ist on talk radio, he always engaged with char­ac­ter­is­tic aplomb. But deal­ing with bel­liger­ent callers-in is eas­i­er, in a way, than respond­ing to an earnest, straight­for­ward­ly expressed curios­i­ty about one’s own reli­gious beliefs. In the Q&A clip above, tak­en from his 1994 “lost lec­ture,” Sagan receives just such a ques­tion: “What is your per­son­al reli­gion? Is there any type of God to you? Like, is there a pur­pose, giv­en that we’re just sit­ting on this speck in the mid­dle of this sea of stars?”

“Now, I don’t want to duck any ques­tions,” Sagan replies, “and I’m not going to duck this one.” Nev­er­the­less, he requests a tri­fling clar­i­fi­ca­tion: “What do you mean when you use the word God?”  Pressed by none oth­er than Carl Sagan to define God, few of us would pre­sum­ably hold up well.

Here the ques­tion­er changes his angle, draw­ing on Sagan’s own def­i­n­i­tion in Pale Blue Dot of the “Great Demo­tions,” those “down-lift­ing expe­ri­ences, demon­stra­tions of our appar­ent insignif­i­cance, wounds that sci­ence has, in its search for Galileo’s facts, deliv­ered to human pride.” And so, “giv­en all these demo­tions,” the man asks, “why don’t we just blow our­selves up?”

“If we do blow our­selves up,” Sagan asks, “does that dis­prove the exis­tence of God?” This is an intrigu­ing rever­sal, but Sagan does­n’t sim­ply reply to ques­tions with ques­tions. Sci­en­tif­ic knowl­edge increas­ing­ly leaves us “on our own,” he says, which is a state “much more respon­si­ble than hop­ing some­one will save us from our­selves.” What if we’re wrong, and a deity does indeed step in to save us? “Okay, that’s all right, I’m for that; we, you know, hedged our bets. It Pas­cal’s bar­gain run back­wards.” The prob­lem lies with God itself, “a word so ambigu­ous, that means so many dif­fer­ent things,” and one used “to seem to agree with some­one else with whom you do not agree.” Despite its impor­tance, not least for “social lubri­ca­tion,” no term can be use­ful to truth that encom­pass­es so many dif­fer­ent per­son­al con­cep­tions — bil­lions and bil­lions of them, one might say.

Relat­ed Con­tent:

Carl Sagan, Stephen Hawk­ing & Arthur C. Clarke Dis­cuss God, the Uni­verse, and Every­thing Else

Hear Carl Sagan Art­ful­ly Refute a Cre­ation­ist on a Talk Radio Show: “The Dar­win­ian Con­cept of Evo­lu­tion is Pro­found­ly Ver­i­fied”

Carl Sagan Explains Evo­lu­tion in an Eight-Minute Ani­ma­tion

Ted Turn­er Asks Carl Sagan “Are You a Social­ist?;” Sagan Responds Thought­ful­ly (1989)

Carl Sagan Pre­dicts the Decline of Amer­i­ca: Unable to Know “What’s True,” We Will Slide, “With­out Notic­ing, Back into Super­sti­tion & Dark­ness” (1995)

Carl Sagan Tells John­ny Car­son What’s Wrong with Star Wars: “They’re All White” & There’s a “Large Amount of Human Chau­vin­ism in It” (1978)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

200 Comic Book Adaptations of Classic Novels Created (1941–1971): Frankenstein, Moby Dick, Hamlet & More

Thanks to “the rise of comics as a ‘respectable’ medi­um,” Ross John­son writes at Barnes and Noble, graph­ic nov­el adap­ta­tions now con­stant­ly reimag­ine lit­er­ary clas­sics for young read­ers. One Goodreads list col­lects over 200 recent graph­ic adap­ta­tions of clas­sics from Austen to Kaf­ka. These adap­ta­tions “aim to hon­or and embell­ish rather than replace the books on which they are based,” writes John­son, “because how could they?” They do, how­ev­er, allow us to “see, lit­er­al­ly and fig­u­ra­tive­ly, the sto­ries we love from new angles.” They also give kids and adults who may not fan­cy them­selves read­ers new ways to access and enjoy lit­er­ary clas­sics.

But are graph­ic adap­ta­tions real­ly a new phe­nom­e­non? They may be new­ly respectable, but they’ve been around since the very dawn of com­ic books as a medi­um. Super­man debuted in 1938, Bat­man in 1939, and in 1941, the first issue of Clas­sics Illus­trat­ed appeared — an adap­ta­tion of The Three Mus­ke­teers, fol­lowed by Ivan­hoe and The Count of Monte Cristo. The series was found­ed by Russ­ian-born pub­lish­er Albert Kan­ter, who imme­di­ate­ly seized on the poten­tial of com­ic books as edu­ca­tion­al tools dur­ing what is now known as the Gold­en Age of Comics.

Even as a pres­tige series sup­pos­ed­ly pro­mot­ing “great lit­er­a­ture,” Clas­sics Illus­trat­ed did not escape the notice of Dr. Fredric Wertham, whose book Seduc­tion of the Inno­cent began the moral pan­ic over com­ic books in the 1950s. Wertham found fault with the graph­ic adap­ta­tions of Dr. Jekyll and Mr. Hyde and Uncle Tom’s Cab­in for reduc­ing the nov­els to their most stereo­typ­i­cal and sen­sa­tion­al­ist ele­ments. It’s the kind of crit­i­cism we might find levied against graph­ic adap­ta­tions of lit­er­a­ture today, and in many cas­es, it may be war­rant­ed.

Few accused these graph­ic lit­er­ary adap­ta­tions of being great art in their own right. But they accom­plished Kanter’s pur­pose of get­ting comics read­ers excit­ed about clas­sic nov­els. The series ran for 30 years, end­ing in 1971, and became an inter­na­tion­al phe­nom­e­non. In Brazil and Greece, it pub­lished adap­ta­tions of authors from those coun­tries.

A Clas­sics Illus­trat­ed Junior series appeared in 1953, bring­ing chil­dren comics ver­sions of folk­tales and myths. After the series first run, spe­cial issues, reprints, and revivals appeared in lat­er decades, as well a series of tele­vi­sion films in the 70s and 80s. You can peruse over 200 of these adap­ta­tions dig­i­tal­ly scanned at the Inter­net Archive, arti­facts of the Gold­en Age and ances­tors of our cur­rent explo­sion of graph­ic nov­el adap­ta­tions of clas­sic lit­er­a­ture. For a deep­er study of this pub­li­ca­tion, you can pur­chase the 2017 book, Clas­sics Illus­trat­ed: A Cul­tur­al His­to­ry.

Relat­ed Con­tent: 

Free: Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

Free Com­ic Books Turns Kids Onto Physics: Start With the Adven­tures of Niko­la Tes­la

Take a Free Online Course on Mak­ing Com­ic Books, Com­pli­ments of the Cal­i­for­nia Col­lege of the Arts

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Watch an Exquisite 19th Century Coffee Maker in Action

Pourover

Cold brew

Sin­gle ori­gin

Cof­fee snob­bery may seem like a recent phe­nom­e­non, but the quest for the per­fect­ly brewed cup has been going on for a very long time.

Behold the Con­ti­nen­tal Bal­anc­ing Siphon, above — a com­plete­ly auto­mat­ic, 19th-cen­tu­ry table top vac­u­um brew­er.

There’s an unmis­tak­able ele­ment of cof­fee mak­ing as the­ater here… but also, a fas­ci­nat­ing demon­stra­tion of phys­i­cal prin­ci­ples in action.

Vin­tage vac­u­um pot col­lec­tor Bri­an Har­ris breaks down how the bal­anc­ing siphon works:

Two ves­sels are arranged side-by-side, with a siphon tube con­nect­ing the two.

Cof­fee is placed in one side (usu­al­ly glass), and water in the oth­er (usu­al­ly ceram­ic). 

A spir­it lamp heats the water, forc­ing it through the tube and into the oth­er ves­sel, where it mix­es with the cof­fee. 

As the water is trans­ferred from one ves­sel to the oth­er, a bal­anc­ing sys­tem based on a coun­ter­weight or spring mech­a­nism is acti­vat­ed by the change in weight. This in turn trig­gers the extin­guish­ing of the lamp. A par­tial vac­u­um is formed, which siphons the brewed cof­fee through a fil­ter and back into the first ves­sel, from which is dis­pensed by means of a spig­ot.

(Still curi­ous? We direct you to Har­ris’ web­site for a length­i­er, more egghead­ed expla­na­tion, com­plete with equa­tions, graphs, and cal­cu­la­tions for sat­u­rat­ed vapor pres­sure and the approx­i­mate tem­per­a­ture at which down­ward flow begins.)

The bal­anc­ing siphon was to 1850’s Paris and Vien­na what Blue Bottle’s three-foot tall Japan­ese slow-drip iced cof­fee-mak­ing devices are to ear­ly 21st-cen­tu­ry Brook­lyn and Oak­land.

Does the fla­vor of cof­fee brewed in a bal­ance siphon mer­it the time and, if pur­chased in a cafe, expense?

Yes, accord­ing to Maria Tin­de­mans, the CEO of Roy­al Paris, whose 24-carat gold and Bacar­rat glass bal­anc­ing siphon retails for between $17,500 and $24,000:

The cof­fee from a syphon can best be described as “crys­tal clear,” with great puri­ty of fla­vor and aro­ma and no bit­ter­ness added by the brew­ing process.

More afford­able bal­anc­ing siphons can be found online, though be fore­warned, all siphons are a bitch to clean, accord­ing to Red­dit.

If you do invest, be sure to up the cof­fee snob­bery by telling your cap­tive audi­ence that you’ve named your new device “Gabet,” in hon­or of Parisian Louis Gabet, whose 1844 patent for a coun­ter­weight mech­a­nism kicked off the bal­anc­ing siphon craze.

via Boing Boing

Relat­ed Con­tent:

How to Make the World’s Small­est Cup of Cof­fee, from Just One Cof­fee Bean

The Life Cycle of a Cup of Cof­fee: The Jour­ney from Cof­fee Bean, to Cof­fee Cup

Wake Up & Smell the Cof­fee: The New All-in-One Cof­fee-Mak­er/Alarm Clock is Final­ly Here!

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday

Why Civilization Collapsed in 1177 BC: Watch Classicist Eric Cline’s Lecture That Has Already Garnered 5.5 Million Views

Eric Cline is a man of the Bronze Age. “If I could be rein­car­nat­ed back­wards,” he says in the lec­ture above, “I would choose to live back then. I’m sure I would not live more than about 48 hours, but it’d be a good 48 hours.” He may give him­self too lit­tle cred­it: as he goes on to demon­strate in the hour that fol­lows, he has as thor­ough an all-around knowl­edge of life in the Bronze Age as any­one alive in the 21st cen­tu­ry. But of course, his prospects for sur­vival in that era — or indeed any­one’s — depend on which part of it we’re talk­ing about. The Bronze Age last­ed a long time, from rough­ly 3300 to 1200 BC — at the end of which, ancient-his­to­ry spe­cial­ists agree, civ­i­liza­tion col­lapsed.

What the spe­cial­ists don’t quite agree on is how it hap­pened. Cline makes his own case in the book 1177 BC: The Year Civ­i­liza­tion Col­lapsed. The title, which seems to have been the result of the pub­lish­ing indus­try’s invin­ci­ble enthu­si­asm for nam­ing books after years, may soon need an update: as Cline admits, it reflects a con­ven­tion among schol­ars about how to label the tit­u­lar event that has just been revised, and has since been revised back. And in any case, the col­lapse of civ­i­liza­tion among the dis­tinct but inter­con­nect­ed Egyp­tians, Hit­tites, Canaan­ites, Cypri­ots, Minoans, Myce­naeans, Assyr­i­ans, and Baby­lo­ni­ans of the Bronze Age took not a year, he explains, but more like a cen­tu­ry.

This com­pli­cat­ed process has no one expla­na­tion — and more to the point, no one cause. Many flour­ish­ing cities of Bronze Age civ­i­liza­tion were indeed destroyed by 1177 BC or soon there­after. The “old, sim­ple expla­na­tion” for this was that “a drought caused famine, which even­tu­al­ly caused the Sea Peo­ples to start mov­ing and cre­at­ing hav­oc, which caused the col­lapse.” Cline opts to include these fac­tors and oth­ers, includ­ing earth­quakes and rebel­lions, whose effects spread to afflict all parts of this ear­ly “glob­al­ized” part of the world. The result was a “sys­tems col­lapse,” involv­ing the break­down of “cen­tral admin­is­tra­tive orga­ni­za­tion,” the “dis­ap­pear­ance of the tra­di­tion­al elite class,” the “col­lapse of the cen­tral­ized econ­o­my,” as well as “set­tle­ment shifts and pop­u­la­tion decline.”

Sys­tems col­laps­es have also hap­pened in oth­er places and at oth­er times. Giv­en the enor­mous inten­si­fi­ca­tion of glob­al­iza­tion since the Bronze Age and the con­tin­ued threats issued by the nat­ur­al world, could anoth­er hap­pen here and now? Point­ing to the cli­mate change, famines and droughts, earth­quakes, rebel­lions, acts of bel­li­cos­i­ty, and eco­nom­ic trou­bles in evi­dence today, Cline adds that “the only thing miss­ing are the Sea Peo­ples” — and even then sug­gests that ISIS and refugees from Syr­ia could be play­ing a sim­i­lar­ly dis­rup­tive role. Giv­en that this talk has racked up more than five and a half mil­lion views so far, it seems he makes a con­vinc­ing case, though the appeal could owe as much to his jokes. Not all of us, he acknowl­edges, will accept the rel­e­vance of the sub­ject: “It’s his­to­ry,” as we reas­sure our­selves. “It nev­er repeats itself.”

Relat­ed Con­tent:

The Lifes­pan of Ancient Civ­i­liza­tions Detailed in a Handy Info­graph­ic: Are We Head­ed Towards Our Own Col­lapse?

The Fall of Civ­i­liza­tions Pod­cast Engag­ing­ly Explores the Col­lapse of Civ­i­liza­tions & Empires Through­out His­to­ry

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

Get the His­to­ry of the World in 46 Lec­tures: A Free Online Course from Colum­bia Uni­ver­si­ty

M.I.T. Com­put­er Pro­gram Alarm­ing­ly Pre­dicts in 1973 That Civ­i­liza­tion Will End by 2040

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Sherlock Holmes Stories Read by The Great Christopher Lee

The extend­ed Sher­lock Holmes Uni­verse, as we might call it, has grown so vast in the last cen­tu­ry (as with oth­er fran­chis­es that have uni­vers­es) that it’s pos­si­ble to call one­self a fan with­out ever hav­ing read the source mate­r­i­al. Depend­ing on one’s per­sua­sion, this is either heresy or the inevitable out­come of so much medi­a­tion by Holme­sian high priests, none of whom can resist writ­ing Holmes fan fic­tion of their own. But Sher­lock­ians agree: the true Holmes Canon (yes, it’s cap­i­tal­ized) con­sists of only 60 works — 56 short sto­ries and four nov­els, exclud­ing apoc­rypha. No more, no less. (And they’re in the pub­lic domain!)

The Canon safe­guards Arthur Conan Doyle’s work against the extra-volu­mi­nous flood of pas­tichists, par­o­dists, and imposters appear­ing on the scene since Holmes’ first appear­ance in 1892. (Doyle per­son­al­ly liked Peter Pan author J.M. Barrie’s Holmes par­o­dy, “The Adven­ture of the Two Col­lab­o­ra­tors,” so much he includ­ed it in his auto­bi­og­ra­phy.) The Holmes Canon remains untouch­able for its wit, inge­nu­ity, and the true strange­ness of its detec­tive — a por­trait of per­haps the most emo­tion­al­ly avoidant pro­tag­o­nist in Eng­lish lit­er­a­ture when we first meet him:

All emo­tions, and [love] par­tic­u­lar­ly, were abhor­rent to his cold, pre­cise but admirably bal­anced mind. He was, I take it, the most per­fect rea­son­ing and observ­ing machine that the world has seen, but as a lover he would have placed him­self in a false posi­tion. He nev­er spoke of the soft­er pas­sions, save with a gibe and a sneer. They were admirable things for the observer—excellent for draw­ing the veil from men’s motives and actions. But for the trained rea­son­er to admit such intru­sions into his own del­i­cate and fine­ly adjust­ed tem­pera­ment was to intro­duce a dis­tract­ing fac­tor which might throw a doubt upon all his men­tal results. Grit in a sen­si­tive instru­ment, or a crack in one of his own high-pow­er lens­es, would not be more dis­turb­ing than a strong emo­tion in a nature such as his.

How to make such a cold fish com­pelling? With a host of quirks, an inge­nious mind, a “Bohemi­an soul,” some unsa­vory qual­i­ties, and at least one or two human attach­ments, if you can call them that. Sherlock’s cold, log­i­cal exte­ri­or masks con­sid­er­able pas­sion, inspir­ing fan the­o­ries about an ances­tral rela­tion­ship to Star Trek’s Spock.

But of course, we see Holmes almost entire­ly through the eyes of his side­kick and amanu­en­sis, James Wat­son, who has his bias­es. When Holmes stepped out of the sto­ries and into radio and screen adap­ta­tions, he became his own man, so to speak — or a series of lead­ing men: Basil Rath­bone, John Giel­gud, Ian McK­ellen, Michael Caine, Robert Downey, Jr., Bene­dict Cum­ber­batch, and the late Christo­pher Lee, who played not one of Doyle’s char­ac­ters, but four, begin­ning with his role as Sir Hen­ry Baskerville, with Peter Cush­ing as Holmes, in a 1959 adap­ta­tion.

In 1962, Lee took on the role of Holmes him­self in a Ger­man-Ital­ian pro­duc­tion, Sher­lock Holmes and the Dead­ly Neck­lace, an orig­i­nal sto­ry based on Doyle’s work. He played Holmes’ smarter but unmo­ti­vat­ed old­er broth­er, Mycroft, in 1970, then played a much old­er Holmes twice more in the 90s, paus­ing along the way for the role of Arnaud, a char­ac­ter in anoth­er Doyle adap­ta­tion, The Leather Fun­nel, in 1973 and the nar­ra­tor of a 1985 Holmes doc­u­men­tary, The Many Faces of Sher­lock Holmes. In an extra­or­di­nary career, Lee became an icon in the worlds of hor­ror, sci­ence fic­tion, fan­ta­sy, and Sher­lock Holmes, a genre all its own, into which he fit per­fect­ly.

In the videos here, you can hear Lee read four of the last twelve Holmes sto­ries Doyle wrote in the final decade of his life. These were col­lect­ed in 1927 in The Case-Book of Sher­lock Holmes. We begin, at the top, with the very last of the 56 canon­i­cal sto­ries, “The Adven­ture of Shoscombe Old Place.”  Lee may nev­er have played Dr. Wat­son, but we can imag­ine him bring­ing his famil­iar grav­i­tas to that role, too, as he nar­rates in his deep mel­liflu­ous voice. Find links to 7 more sto­ries from Doyle’s last col­lec­tion, read by Lee, on Metafil­ter, and hear him nar­rate The Many Faces of Sher­lock Holmes, just below.

Relat­ed Con­tent: 

Arthur Conan Doyle Names His 19 Favorite Sher­lock Holmes Sto­ries

Hor­ror Leg­end Christo­pher Lee Reads Bram Stoker’s Drac­u­la

Sher­lock Holmes Is Now in the Pub­lic Domain, Declares US Judge

Read the Lost Sher­lock Holmes Sto­ry That Was Just Dis­cov­ered in an Attic in Scot­land

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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