Who Built the Egyptian Pyramids & How Did They Do It?: New Archeological Evidence Busts Ancient Myths

Although it’s cer­tain­ly more plau­si­ble than hypothe­ses like ancient aliens or lizard peo­ple, the idea that slaves built the Egypt­ian pyra­mids is no more true. It derives from cre­ative read­ings of Old Tes­ta­ment sto­ries and tech­ni­col­or Cecil B. Demille spec­ta­cles, and was a clas­sic whataboutism used by slav­ery apol­o­gists. The notion has “plagued Egypt­ian schol­ars for cen­turies,” writes Eric Betz at Dis­cov­er. But, he adds emphat­i­cal­ly, “Slaves did not build the pyra­mids.” Who did?

The evi­dence sug­gests they were built by a force of skilled labor­ers, as the Ver­i­ta­si­um video above explains. These were cadres of elite con­struc­tion work­ers who were well-fed and housed dur­ing their stint. “Many Egyp­tol­o­gists,” includ­ing arche­ol­o­gist Mark Lehn­er, who has exca­vat­ed a city of work­ers in Giza, “sub­scribe to the hypothe­ses that the pyra­mids were… built by a rotat­ing labor force in a mod­u­lar, team-based kind of orga­ni­za­tion,” Jonathan Shaw writes at Har­vard Mag­a­zine. Graf­fi­ti dis­cov­ered at the site iden­ti­fies team names like “Friends of Khu­fu” and “Drunk­ards of Menkau­re.”

The exca­va­tion also uncov­ered “tremen­dous quan­ti­ties of cat­tle, sheep, and goat bone, ‘enough to feed sev­er­al thou­sand peo­ple, even if they ate meat every day,’ adds Lehn­er,” sug­gest­ing that work­ers were “fed like roy­al­ty.” Anoth­er exca­va­tion by Lehner’s friend Zahi Hawass, famed Egypt­ian archae­ol­o­gist and expert on the Great Pyra­mid, has found work­er ceme­ter­ies at the foot of the pyra­mids, mean­ing that those who per­ished were buried in a place of hon­or. This was incred­i­bly haz­ardous work, and the peo­ple who under­took it were cel­e­brat­ed and rec­og­nized for their achieve­ment.

Labor­ers were also work­ing off an oblig­a­tion, some­thing every Egypt­ian owed to those above them and, ulti­mate­ly, to their pharoah. But it was not a mon­e­tary debt. Lehn­er describes what ancient Egyp­tians called bak, a kind of feu­dal duty. While there were slaves in Egypt, the builders of the pyra­mids were maybe more like the Amish, he says, per­form­ing the same kind of oblig­a­tory com­mu­nal labor as a barn rais­ing. In that con­text, when we look at the Great Pyra­mid, “you have to say ‘This is a hell of a barn!’’’

The evi­dence unearthed by Lehn­er, Hawass, and oth­ers has “dealt a seri­ous blow to the Hol­ly­wood ver­sion of a pyra­mid build­ing,” writes Shaw, “with Charl­ton Hes­ton as Moses inton­ing, ‘Pharaoh, let my peo­ple go!’” Recent arche­ol­o­gy has also dealt a blow to extra-ter­res­tri­al or time-trav­el expla­na­tions, which begin with the assump­tion that ancient Egyp­tians could not have pos­sessed the know-how and skill to build such struc­tures over 4,000 years ago. Not so. Ver­i­ta­si­um explains the incred­i­ble feats of mov­ing the out­er stones with­out wheels and trans­port­ing the gran­ite core of the pyra­mids 620 miles from its quar­ry to Giza.

Ancient Egyp­tians could plot direc­tions on the com­pass, though they had no com­pass­es. They could make right angles and lev­els and thus had the tech­nol­o­gy required to design the pyra­mids. What about dig­ging up the Great Pyramid’s 2 mil­lion blocks of yel­low lime­stone? As we know, this was done by a skilled work­force, who quar­ried an “olympic swimming-pool’s worth of stone every eight days” for 23 years to build the Great Pyra­mid, notes Joe Han­son in the PBS It’s Okay to Be Smart video above. They did so using the only met­al avail­able to them, cop­per.

This may sound incred­i­ble, but mod­ern exper­i­ments have shown that this amount of stone could be quar­ried and moved, using the tech­nol­o­gy avail­able, by a team of 1,200 to 1,500 work­ers, around the same num­ber of peo­ple archae­ol­o­gists believe to have been on-site dur­ing con­struc­tion. The lime­stone was quar­ried direct­ly at the site (in fact the Sphinx was most­ly dug out of the earth, rather than built atop it). How was the stone moved? Egyp­tol­o­gists from the Uni­ver­si­ty of Liv­er­pool think they may have found the answer, a ramp with stairs and a series of holes which may have been used as a pul­ley sys­tem.

Learn more about the myths and the real­i­ties of the builders of Egypt’s pyra­mids in the It’s Okay to Be Smart “Who Built the Pyra­mids, Part 1″ video above.

Relat­ed Con­tent: 

Take a 3D Tour Through Ancient Giza, Includ­ing the Great Pyra­mids, the Sphinx & More

What the Great Pyra­mid of Giza Would’ve Looked Like When First Built: It Was Gleam­ing, Reflec­tive White

A Drone’s Eye View of the Ancient Pyra­mids of Egypt, Sudan & Mex­i­co

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

The New Enlightenment and the Fight to Free Knowledge: Part 1

Edi­tor’s Note: This month, MIT Open Learning’s Peter B. Kauf­man has pub­lished The New Enlight­en­ment and the Fight to Free Knowl­edge, a book that takes a his­tor­i­cal look at the pow­er­ful forces that have pur­pose­ly crip­pled our efforts to share knowl­edge wide­ly and freely. His new work also maps out what we can do about it. In the com­ing days, Peter will be mak­ing his book avail­able through Open Cul­ture by pub­lish­ing three short essays along with links to cor­re­spond­ing sec­tions of his book. Today, you can find his short essay “The Mon­ster­verse” below, and mean­while read/download the first chap­ter of his book here. You can pur­chase the entire book online.

The Mon­ster­verse – what exact­ly is it?  Like Sauron and his min­ions from Mor­dor in The Lord of the Rings, like Sheev Pal­pa­tine and the armies of the Galac­tic empire from Star Wars, like Lord Volde­mort and his hench­men the Death Eaters in Har­ry Pot­ter, it’s the col­lec­tive force of evil, one that strives to shut down human progress, free­dom, jus­tice, the spread of knowl­edge –the dis­sem­i­na­tion of (let us just say it) open cul­ture.  It’s the sub­ject of the first chap­ter of my book, The New Enlight­en­ment and the Fight to Free Knowl­edge – and its incar­na­tions have been with us for thou­sands of years.

In 1536, which is when the book begins, it found its embod­i­ment in Jacobus Lato­mus, who over­saw the tri­al and exe­cu­tion – by stran­gling and burn­ing at the stake – of a trans­la­tor and a priest named William Tyn­dale.  Lato­mus, who him­self was over­seen by Thomas More, who him­self was over­seen by Hen­ry VIII (with Pope Clement VII in a sup­port­ing role), chore­o­graphed Tyndale’s for­mal degra­da­tion, such that a cou­ple dozen apos­tolic inquisi­tors and the­olo­gians, uni­ver­si­ty rec­tors and fac­ul­ty, lawyers and privy coun­cilors – “heresy-hunters,” as his biog­ra­ph­er calls them – led him out of his prison cell in pub­lic and in his priest­ly rai­ment to a high plat­form out­doors where oils of anoint­ment were scraped sym­bol­i­cal­ly from his hands, the bread and wine of the Eucharist sit­u­at­ed next to him and then just as quick­ly removed, and then his vest­ments “cer­e­mo­ni­al­ly stripped away,” so that he would find him­self, and all would see him as, no longer a priest.  Death came next.  This schol­ar and poly­math to whom, it is now known, we owe as much as we owe William Shake­speare for our lan­guage, this lone man sought and slain by church and king and holy Roman emper­or – his ini­tial stran­gling did not go well, so that when he was sub­se­quent­ly lit on fire, and the flames first lapped at his feet and up his legs, lashed tight to the stake, he came to, and, while burn­ing alive in front of the crowd of reli­gious lead­ers and so-called jus­tices (some sev­en­teen tri­al com­mis­sion­ers) who had so sum­mar­i­ly sent Tyn­dale to his death and gath­ered to watch it, live, he cried out, less to the crowd, it would seem, than to Anoth­er: “Lord! Lord! Open the King of England’s eyes!”

What did Tyn­dale do?  He believed that the struc­ture of com­mu­ni­ca­tion dur­ing his time was bro­ken and unfair, and with a core, unwa­ver­ing focus, he sought to make it so that the main body of knowl­edge in his day could be accessed and then shared again by every man alive. He engaged in an unpar­al­leled act of cod­ing (not for noth­ing do we speak of com­put­er pro­gram­ming “lan­guages”), work­ing through the Latin, Greek, Hebrew, and Ara­ma­ic of the Bible’s Old, then New, Tes­ta­ments to bring all of its good books – from Gen­e­sis 1 to Rev­e­la­tion 22—into Eng­lish for every­day read­ers. He is report­ed to have said, in response to a ques­tion from a priest who had chal­lenged his work, a priest who read the Bible only in Latin: “I will cause a boy that dri­veth the plough shall know more of the Scrip­ture than thou dost.” And he worked with the dis­tri­b­u­tion tech­nolo­gies of his time – the YouTubes, web­sites, and Twit­ters back then – by con­nect­ing per­son­al­ly with book design­ers, paper sup­pli­ers, print­ers, boat cap­tains, and horse­men across six­teenth-cen­tu­ry Europe to bring the knowl­edge and the book that con­tained it into the hands of the peo­ple.

It wasn’t easy. In Tyndale’s time, popes and kings had decreed, out of con­cern for keep­ing their pow­er, that the Bible could exist and be read and dis­trib­uted “only in the assem­bly of Latin trans­la­tions” that had been com­plet­ed by the monk Saint Jerome in approx­i­mate­ly 400 CE. The penal­ties for chal­leng­ing the law were among the most severe imag­in­able, for such vio­la­tions rep­re­sent­ed a panoply of civ­il trans­gres­sions and an entire com­plex­i­ty of here­sies. In tak­ing on the church and the king – in his effort sim­ply and sole­ly to trans­late and then dis­trib­ute the Bible in Eng­lish – Tyn­dale con­front­ed “the great­est power[s] in the West­ern world.” As he “was trans­lat­ing and print­ing his New Tes­ta­ment in Worms,” his lead­ing biog­ra­ph­er reminds us, “a young man in Nor­wich was burned alive for the crime of own­ing a piece of paper on which was writ­ten the Lord’s Prayer in Eng­lish.” The Bible had been inac­ces­si­ble in Latin for a thou­sand years, this biog­ra­ph­er writes, and “to trans­late it for the peo­ple became heresy, pun­ish­able by a soli­tary lin­ger­ing death as a heretic; or, as had hap­pened to the Cathars in south­ern France, or the Hus­sites in Bohemia and Lol­lards in Eng­land, offi­cial and bloody attempts to exter­mi­nate the species.”

Yuck­adoo, the Mon­ster­verse, but very much still with us.  The stran­gle­holds are real.  And Tyndale’s suc­ces­sors in the fight to free knowl­edge include many free­dom fight­ers and rev­o­lu­tion­ar­ies – going up against the forces that seek to con­strain our growth as a soci­ety.  Were Tyn­dale alive today, he would won­der about the state of copy­right law and its over­reach; the per­va­sive estate of sur­veil­lance cap­i­tal­ism; the sweep­ing pow­ers of gov­ern­ment to see and inter­fere in our com­mu­ni­ca­tion.  And he would won­der why the seem­ing­ly pro­gres­sive forces on the side of free­dom today – uni­ver­si­ties, muse­ums, libraries, archives – don’t fight more against infor­ma­tion oppres­sion.  Tyn­dale would rec­og­nize that the health pan­dem­ic, the eco­nom­ic cri­sis, the polit­i­cal vio­lence we face today, are all the result of an infor­ma­tion dis­or­der, one that relies on squelch­ing knowl­edge and pro­mot­ing the dark­est forms of igno­rance for its suc­cess.  How we come to grips with that chal­lenge is the num­ber-one ques­tion for our time.  Dis­cov­er­ing new paths to defeat­ing it – over­com­ing the Dark Lords, destroy­ing the Hor­crux­es, final­ly har­ness­ing the Force – is the sub­ject of the next two arti­cles, and of the rest of the book.

Peter B. Kauf­man works at MIT Open Learn­ing and is the author of The New Enlight­en­ment and the Fight to Free Knowl­edge.  This is the first of three arti­cles.

When Sci-Fi Legend Ursula K. Le Guin Translated the Chinese Classic, the Tao Te Ching

Bren­da (laugh­ing): Can you imag­ine a Taoist adver­tis­ing agency? “Buy this if you feel like it. If it’s right. You may not need it.”

Ursu­la: There was an old car­toon in The New York­er with a guy from an adver­tis­ing agency show­ing his ad and the boss is say­ing “I think you need a lit­tle more enthu­si­asm Jones.” And his ad is say­ing, “Try our prod­uct, it real­ly isn’t bad.”

Per­haps no Chi­nese text has had more last­ing influ­ence in the West than the Tao Te Ching, a work so ingrained in our cul­ture by now, it has become a “change­less con­stant,” writes Maria Popo­va. “Every gen­er­a­tion of admir­ers has felt, and con­tin­ues to feel, a pre­science in these ancient teach­ings so aston­ish­ing that they appear to have been writ­ten for their own time.” It speaks direct­ly to us, we feel, or at least, that’s how we can feel when we find the right trans­la­tion.

Admir­ers of the Taoist clas­sic have includ­ed John Cage, Franz Kaf­ka, Bruce Lee, Alan Watts, and Leo Tol­stoy, all of whom were deeply affect­ed by the mil­len­nia-old philo­soph­i­cal poet­ry attrib­uted to Lao Tzu. That’s some heavy com­pa­ny for the rest of us to keep, maybe. It’s also a list of famous men. Not every read­er of the Tao is male or approach­es the text as the utter­ances of a patri­ar­chal sage. One famous read­er had the audac­i­ty to spend decades on her own, non-gen­dered, non-hier­ar­chi­cal trans­la­tion, even though she didn’t read Chi­nese.

It’s not quite right to call Ursu­la Le Guin’s Tao Te Ching a trans­la­tion, so much as an inter­pre­ta­tion, or a “ren­di­tion,” as she calls it. “I don’t know Chi­nese,” she said in an inter­view with Bren­da Peter­son, “but I drew upon the Paul Carus trans­la­tion of 1898 which has Chi­nese char­ac­ters fol­lowed by a translit­er­a­tion and a trans­la­tion.” She used the Carus as a “touch­stone for com­par­ing oth­er trans­la­tions,” and start­ed, in her twen­ties, “work­ing on these poems. Every decade or so I’d do anoth­er chap­ter. Every read­er has to start anew with such an ancient text.”

Le Guin drew out inflec­tions in the text which have been obscured by trans­la­tions that address the read­er as a Ruler, Sage, Mas­ter, or King. In her intro­duc­tion, Le Guin writes, “I want­ed a Book of the Way acces­si­ble to a present-day, unwise, unpow­er­ful, per­haps unmale read­er, not seek­ing eso­teric secrets, but lis­ten­ing for a voice that speaks to the soul.” To imme­di­ate­ly get a sense of the dif­fer­ence, we might con­trast edi­tions of Arthur Waley’s trans­la­tion, The Way and Its Pow­er: a Study of the Tao Te Ching and Its Place in Chi­nese Thought, with Le Guin’s Tao Te Ching: A Book about the Way and the Pow­er of the Way.

Waley’s trans­la­tion “is nev­er going to be equaled for what it does,” serv­ing as a “man­u­al for rulers,” Le Guin says. It was also designed as a guide for schol­ars, in most edi­tions append­ing around 100 pages of intro­duc­tion and 40 pages of open­ing com­men­tary to the main text. Le Guin, by con­trast, reduces her edi­to­r­i­al pres­ence to foot­notes that nev­er over­whelm, and often don’t appear at all (one note just reads “so much for cap­i­tal­ism”), as well as a few pages of end­notes on sources and vari­ants. “I didn’t fig­ure a whole lot of rulers would be read­ing it,” she said. “On the oth­er hand, peo­ple in posi­tions of respon­si­bil­i­ty, such as moth­ers, might be.”

Her ver­sion rep­re­sents a life­long engage­ment with a text Le Guin took to heart “as a teenage girl” she says, and found through­out her life that “it obvi­ous­ly is a book that speaks to women.” But her ren­der­ing of the poems does not sub­stan­tial­ly alter the sub­stance. Con­sid­er the first two stan­zas of her ver­sion of Chap­ter 11 (which she titles “The uses of not”) con­trast­ed with Waley’s CHAPTER XI.

Waley

We put thir­ty spokes togeth­er and call it a wheel;
But it is on the space where there is noth­ing that the
use­ful­ness of the wheel depends.
We turn clay to make a ves­sel;
But it is on the space where there is noth­ing that the
use­ful­ness of the ves­sel depends.

Le Guin

Thir­ty spokes
meet in the hub.
Where the wheel isn’t
is where is it’s use­ful.

Hol­lowed out,
clay makes a pot.
Where the pot’s not
is where it’s use­ful.

Le Guin ren­ders the lines as delight­ful­ly folksy oppo­si­tions with rhyme and rep­e­ti­tion. Waley piles up argu­men­ta­tive claus­es. “One of the things I love about Lao Tzu is he is so fun­ny,” Le Guin com­ments in her note,” a qual­i­ty that doesn’t come through in many oth­er trans­la­tions. “He’s explain­ing a pro­found and dif­fi­cult truth here, one of those coun­ter­in­tu­itive truths that, when the mind can accept them, sud­den­ly dou­ble the size of the uni­verse. He goes about it with this dead­pan sim­plic­i­ty, talk­ing about pots.”

Such images cap­ti­vat­ed the earthy anar­chist Le Guin. She drew inspi­ra­tion for the title of her 1971 nov­el The Lathe of Heav­en from Taoist philoso­pher Chuang Tzu, per­haps show­ing how she reads her own inter­ests into a text, as all trans­la­tors and inter­preters inevitably do. No trans­la­tion is defin­i­tive. The bor­row­ing turned out to be an exam­ple of how even respect­ed Chi­nese lan­guage schol­ars can mis­read a text and get it wrong. She found the “lathe of heav­en” phrase in James Legge’s trans­la­tion of Chuang Tzu, and lat­er learned on good author­i­ty that there were no lath­es in Chi­na in Chuang Tzu’s time. “Legge was a bit off on that one,” she writes in her notes.

Schol­ar­ly den­si­ty does not make for per­fect accu­ra­cy or a read­able trans­la­tion. The ver­sions of Legge and sev­er­al oth­ers were “so obscure as to make me feel the book must be beyond West­ern com­pre­hen­sion,” writes Le Guin. But as the Tao Te Ching announces at the out­set: it offers a Way beyond lan­guage. In Legge’s first few lines:

The Tao that can be trod­den is not the endur­ing and
unchang­ing Tao. The name that can be named is not the endur­ing and
unchang­ing name.

Here is how Le Guin wel­comes read­ers to the Tao — not­ing that “a sat­is­fac­to­ry trans­la­tion of this chap­ter is, I believe, per­fect­ly impos­si­ble — in the first poem she titles “Tao­ing”:

The way you can go 
isn’t the real way. 
The name you can say 
isn’t the real name.

Heav­en and earth
begin in the unnamed: 
name’s the moth­er
of the ten thou­sand things.

So the unwant­i­ng soul 
sees what’s hid­den,
and the ever-want­i­ng soul 
sees only what it wants.

Two things, one ori­gin, 
but dif­fer­ent in name, 
whose iden­ti­ty is mys­tery.
Mys­tery of all mys­ter­ies! 
The door to the hid­den.

All images of the text cour­tesy of Austin Kleon. 

Relat­ed Con­tent: 

Ursu­la K. Le Guin Names the Books She Likes and Wants You to Read

Ursu­la K. Le Guin’s Dai­ly Rou­tine: The Dis­ci­pline That Fueled Her Imag­i­na­tion

Ursu­la K. Le Guin Stamp Get­ting Released by the US Postal Ser­vice

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

The Last Interview Book Series Features the Final Words of Cultural Icons: Borges to Bowie, Philip K. Dick to Frida Kahlo

Where were you when you heard that Hunter S. Thomp­son had died? The unique­ly addled, unique­ly inci­sive tak­er of the strange trip that was 20th-cen­tu­ry Amer­i­ca checked out six­teen years ago last month, a span of time in which we’ve also lost a great many oth­er influ­en­tial fig­ures cul­tur­al and coun­ter­cul­tur­al. The depart­ed include many of Thomp­son’s col­leagues in let­ters: soci­etal diag­nos­ti­cians like David Fos­ter Wal­lace and Christo­pher Hitchens; con­jur­ers of the fan­tas­ti­cal and the famil­iar like Ursu­la K. Le Guin and Gabriel Gar­cía Márquez; and spe­cial­ists in oth­er fields — Oliv­er Sacks from neu­rol­o­gy, Antho­ny Bour­dain from the kitchen, Nora Ephron from Hol­ly­wood — who on the page enter­tained us as they shared their exper­tise.

All of these writ­ers have passed into esteemed com­pa­ny: not just that of lumi­nar­ies from bygone eras, but of vol­umes in Melville House­’s Last Inter­view series. “Can you think of three writ­ers who, on the face of it, would have had less to say to each oth­er at a din­ner par­ty?” asks NPR’s Mau­reen Cor­ri­g­an, review­ing Last Inter­view vol­umes on Ephron, Ernest Hem­ing­way, and Philip K. Dick.

“Hem­ing­way would have knocked back the booze and gone all moody and silent; the noto­ri­ous­ly para­noid Dick would have been under the table check­ing for bug­ging devices and Ephron would’ve chan­neled what she called ‘the tru­ly life-sav­ing tech­nique’ taught to her by her Hol­ly­wood screen­writer par­ents to get through a rough time: the mantra, ‘Some­day this will be a sto­ry!’ ”

With a range of deceased icons, includ­ing Mar­i­lyn Mon­roe and Mar­tin Luther King, Jr., Julia Child and Jorge Luis Borges, Fred Rogers and Fri­da Kahlo, the Last Inter­view books cast a wide net for such an aes­thet­i­cal­ly and intel­lec­tu­al­ly uni­fied project. “Each vol­ume offers, besides use­ful insights into its par­tic­u­lar author’s work, what an old friend would call ‘civ­i­lized enter­tain­ment,’ ” writes Michael Dir­da in The Wash­ing­ton Post. “Near­ly all the titles actu­al­ly con­tain sev­er­al inter­views, and some add intro­duc­tions. For instance, the Rober­to Bolaño opens with a 40-page crit­i­cal essay.” In some cas­es the inter­view­ers are as notable as the inter­vie­wees: “Two of Lou Reed’s ques­tion­ers — the mul­ti-tal­ent­ed nov­el­ists Neil Gaiman and Paul Auster — are now prob­a­bly as well known as the leg­endary co-founder of the Vel­vet Under­ground.”

From the world of music the series includes not just Reed but David Bowie and Prince, two oth­er one-man cul­tur­al forces who left us in the past decade, as well as their equal­ly irre­place­able pre­de­ces­sors John­ny Cash and Bil­lie Hol­i­day. At the moment you can buy the entire Last Inter­view col­lec­tion on Ama­zon (in Kin­dle for­mat) for USD $344, which comes out to about $10 per book with 34 vol­umes in total. You may find this an eco­nom­i­cal solu­tion, a way to explore the final thoughts of fig­ures fea­tured more than once here on Open Cul­ture.

Relat­ed Con­tent:

Orson Welles’ Last Inter­view and Final Moments Cap­tured on Film

Hear Leonard Cohen’s Final Inter­view: Record­ed by David Rem­nick of The New York­er

Mau­rice Sendak’s Emo­tion­al Last Inter­view with NPR’s Ter­ry Gross, Ani­mat­ed by Christoph Nie­mann

Carl Sagan Issues a Chill­ing Warn­ing to Amer­i­ca in His Final Inter­view (1996)

Janis Joplin’s Last TV Per­for­mance & Inter­view: The Dick Cavett Show (1970)

Watch John­ny Cash’s Poignant Final Inter­view & His Last Per­for­mance: “Death, Where Is Thy Sting?” (2003)

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.

Where Did the Metal Scream Come From? And How Do Metal Vocalists Avoid Destroying Their Vocal Cords?

Do met­al singers take vocal lessons? Sure­ly not the greats of old! Did Bruce Dick­in­son, Rob Hal­ford, and Ozzy Osbourne take lessons? Or did they dive into the debauch­ery head­first, scream­ing?

Iron Maiden’s Dick­in­son has been rumored to have received opera train­ing. This is not true. Instead, he stole his vocal tech­nique from his “den­tist ex-girl­friend,” he says. “As an ex-pupil of the very pres­ti­gious Chel­tenham Ladies’ Col­lege, she’d had quite exten­sive singing lessons, and she kept a note­book.” It changed his life.

Ozzy’s gui­tarist Zakk Wylde tells a fun­ny sto­ry of the Black Sab­bath legend’s wife Sharon order­ing him up a coach… just once… a “man with a brief­case,” says the burly shred­der, sent to take care of “our Joe Mon­tana.” But Osbourne did end up work­ing with a vocal coach, Kath­leen Rig­gs, more reg­u­lar­ly in lat­er years.

Judas Priest’s Hal­ford? He doesn’t men­tion a coach, but he does talk a lot about care and train­ing. “My form of extreme singing,” he says, “it’s like a work­out, you know…. Your vocal cords are mus­cles — they get burned out, they get tired.” As for his pio­neer­ing screams of over 40 years ago, he mus­es, “I some­times think that’s a bit of a curse that I sang and record­ed those cer­tain songs so long ago, when I was a younger guy with a younger set of vocal cords.” He near­ly wrecked his voice, he says, with cocaine and Jack Daniels.

It’s not opera, but met­al singing is a seri­ous­ly ath­let­ic activ­i­ty and has only become more so as its vocals have grown more extreme, even if its fash­ion sense has not. As clas­si­cal­ly trained singer and actress Melis­sa Cross — the “Queen of Scream” — relates in the video at the top, she first became a met­al vocal coach when a pro­duc­er friend called her in dis­may: the singers he was record­ing couldn’t get through a ses­sion with­out cough­ing blood.

Where did the met­al scream come from, and why is it so preva­lent if it’s such an unhealthy way to move one’s vocal folds day after day with­out train­ing and tech­nique? Vikings, Screamin’ Jay Hawkins’ “I Put a Spell on You,”; Led Zep­pelin, Black Sab­bath, AC/DC, and Judas Priest, of course… babies…. These are all points of ori­gin for today’s extreme met­al singing, say hosts LA Buck­n­er and Nahre Sol in the PBS video fur­ther up.

The two talk to Cross about scream­ing with­out bleed­ing, and met­al vocal­ist Natal­ie Kreuger talks about how warmups and opera-like breath­ing tech­niques are essen­tial to main­tain­ing vocal fit­ness. And if you need more con­vinc­ing that met­al singing requires seri­ous pow­er and sta­mi­na, take a look at the 10 longest live screams in met­al, above. Let’s hope they all heed the exam­ple of the elder met­al gods.

Relat­ed Con­tent: 

The Ori­gins of the Death Growl in Met­al Music

Sci­en­tif­ic Study Reveals What Made Fred­die Mercury’s Voice One of a Kind; Hear It in All of Its A Cap­pel­la Splen­dor

96-Year-Old Holo­caust Sur­vivor Fronts a Death Met­al Band

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

Why the Flood of Musician Memoirs? An Exploration by Pretty Much Pop: A Culture Podcast #84

There’s been an explo­sion of rock and roll auto­bi­ogra­phies in recent years, with pret­ty much every music leg­end (and many oth­ers) being invit­ed by some pub­lish­er or oth­er to write or dic­tate their sto­ry. What’s the par­tic­u­lar appeal of this kind of recount­ing, what’s the con­nec­tion between writ­ing and read­ing these books on the one hand and pro­duc­ing and lis­ten­ing to the actu­al music on the oth­er? Do we get a rough­ly equiv­a­lent ben­e­fit from a biog­ra­phy, doc­u­men­tary, or film depic­tion of the per­son­’s life?

Your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt along with guest Lau­ra Davis-Chanin, author of her own music mem­oir, each picked a book, cov­er­ing Elvis Costel­lo, Car­rie Brown­stein, Ozzy Osbourne, and Deb­bie Har­ry respec­tive­ly. Reflect­ing on these read­ing expe­ri­ences we com­pare the author’s pur­pos­es in writ­ing the book, how con­fes­sion­al or drug-addled or twist­ed the sto­ry is, what is empha­sized and what’s not, and what res­onat­ed in the sto­ry beyond the idio­syn­crat­ic recount­ing of that per­son­’s life.

Check out Lau­ra’s two books, hear her talk about her musi­cal adven­tures on Naked­ly Exam­ined Music, and hear her dis­cuss clas­sic lit­er­a­ture on Phi Fic.

Some of the NEM episodes where Mark talked with guests about their auto-biogra­phies fea­tured Chris Frantz of Talk­ing Heads, Jim Peterik of Sur­vivor, Andy Pow­ell of Wish­bone Ash, Dan­ny Seraphine of Chica­go and John Andrew Fredrick of The Black Watch.

We did­n’t use much research for this episode, but you can read lists of par­tic­u­lar­ly good music mem­oirs from Rolling Stone and The Guardian. The Oak­land Press has an arti­cle about music biogra­phies and auto­bi­ogra­phies emerg­ing at the end of 2020.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

The Little-Known Female Scientists Who Mapped 400,000 Stars Over a Century Ago: An Introduction to the “Harvard Computers”

Image via Wiki­me­dia Com­mons

As team names go, the Har­vard Com­put­ers has kind of an odd­ball ring to it, but it’s far prefer­able to Pickering’s Harem, as the female sci­en­tists brought in under the Har­vard Observatory’s male direc­tor were col­lec­tive­ly referred to ear­ly on in their 40-some years of ser­vice to the insti­tu­tion.

A pos­si­bly apoc­ryphal sto­ry has it that Direc­tor Edward Pick­er­ing was so frus­trat­ed by his male assis­tants’ pokey pace in exam­in­ing 1000s of pho­to­graph­ic plates bear­ing images of stars spot­ted by tele­scopes in Har­vard and the south­ern hemi­sphere, he declared his maid could do a bet­ter job.

If true, it was no idle threat.

In 1881, Pick­er­ing did indeed hire his maid, Williami­na Flem­ing, to review the plates with a mag­ni­fy­ing glass, cat­a­logu­ing the bright­ness of stars that showed up as smudges or grey or black spots. She also cal­cu­lat­ed—aka computed—their posi­tions, and, when pos­si­ble, chem­i­cal com­po­si­tion, col­or, and tem­per­a­ture.

The new­ly sin­gle 23-year-old moth­er was not une­d­u­cat­ed. She had served as a teacher for years pri­or to emi­grat­ing from Scot­land, but when her hus­band aban­doned her in Boston, she couldn’t afford to be fussy about the kind of employ­ment she sought. Work­ing at the Pick­er­ings meant secure lodg­ing and a small income.

Not that the pro­mo­tion rep­re­sent­ed a finan­cial wind­fall for Flem­ing and the more than 80 female com­put­ers who joined her over the next four decades. They earned between 25 to 50 cents an hour, half of what a man in the same posi­tion would have been paid.

Image via Wiki­me­dia Com­mons

At one point Flem­ing, who as a sin­gle moth­er was quite aware that she was bur­dened with “all house­keep­ing cares …in addi­tion to those of pro­vid­ing the means to meet their expens­es,” addressed the mat­ter of her low wages with Pick­er­ing, leav­ing her to vent in her diary:

I am imme­di­ate­ly told that I receive an excel­lent salary as women’s salaries stand.… Does he ever think that I have a home to keep and a fam­i­ly to take care of as well as the men?… And this is con­sid­ered an enlight­ened age!

Har­vard cer­tain­ly got its money’s worth from its female work­force when you con­sid­er that the clas­si­fi­ca­tion sys­tems they devel­oped led to iden­ti­fi­ca­tion of near­ly 400,000 stars.

Flem­ing, who became respon­si­ble for hir­ing her cowork­ers, was the first to dis­cov­er white dwarfs and the Horse­head Neb­u­la in Ori­on, in addi­tion to 51 oth­er neb­u­lae, 10 novae, and 310 vari­able stars.

An impres­sive achieve­ment, but anoth­er diary entry belies any glam­our we might be tempt­ed to assign:

From day to day my duties at the Obser­va­to­ry are so near­ly alike that there will be lit­tle to describe out­side ordi­nary rou­tine work of mea­sure­ment, exam­i­na­tion of pho­tographs, and of work involved in the reduc­tion of these obser­va­tions.

Pick­er­ing believed that the female com­put­ers should attend con­fer­ences and present papers, but for the most part, they were kept so busy ana­lyz­ing pho­to­graph­ic plates, they had lit­tle time left over to explore their own areas of inter­est, some­thing that might have afford­ed them work of a more the­o­ret­i­cal nature.

Anoth­er diary entry finds Flem­ing yearn­ing to get out from under a moun­tain of busy work:

Look­ing after the numer­ous pieces of rou­tine work which have to be kept pro­gress­ing, search­ing for con­fir­ma­tion of objects dis­cov­ered else­where, attend­ing to sci­en­tif­ic cor­re­spon­dence, get­ting mate­r­i­al in form for pub­li­ca­tion, etc, has con­sumed so much of my time dur­ing the past four years that lit­tle is left for the par­tic­u­lar inves­ti­ga­tions in which I am espe­cial­ly inter­est­ed.

And yet the work of Flem­ing and oth­er notable com­put­ers such as Hen­ri­et­ta Swan Leav­itt and Annie Jump Can­non is still help­ing sci­en­tists make sense of the heav­ens, so much so that Har­vard is seek­ing vol­un­teers for Project PHaE­DRA, to help tran­scribe their log­books and note­books to make them full-text search­able on the NASA Astro­physics Data Sys­tem. Learn how you can get involved here.

Relat­ed Con­tent: 

“The Matil­da Effect”: How Pio­neer­ing Women Sci­en­tists Have Been Denied Recog­ni­tion and Writ­ten Out of Sci­ence His­to­ry

Women Sci­en­tists Launch a Data­base Fea­tur­ing the Work of 9,000 Women Work­ing in the Sci­ences

Real Women Talk About Their Careers in Sci­ence

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

A List of 132 Radical, Mind-Expanding Books from Rage Against the Machine

If you like Rage Against the Machine, but don’t like their “polit­i­cal bs,” you haven’t actu­al­ly lis­tened to Rage Against the Machine, whose entire rai­son d’être is con­tained with­in the name. What is “the Machine”? Let’s hear it from the band them­selves. Singer Zack de la Rocha point­ed out that the title of their sec­ond album, 1996’s Evil Empire, came from “Ronald Reagan’s slan­der of the Sovi­et Union in the eight­ies, which the band feels could just as eas­i­ly apply to the Unit­ed States.”

The Machine is cap­i­tal­ism and mil­i­tarism, what Dwight D. Eisen­how­er once famous­ly called the “mil­i­tary-indus­tri­al com­plex” but which has fold­ed in oth­er oppres­sive mech­a­nisms since the coin­ing of that phrase, includ­ing the prison-indus­tri­al com­plex and immi­gra­tion-indus­tri­al com­plex. The Machine is a mega-com­plex with a lot of mov­ing parts, and the mem­bers of RATM have done the work to crit­i­cal­ly exam­ine them, inform­ing their music and activism with read­ing and study.

Evil Empire, for exam­ple, fea­tured in its lin­er notes a pho­to of “a pile of rad­i­cal books,” “and the group post­ed a lengthy read­ing list to com­ple­ment it on their site,” declares the site Rad­i­cal Reads. Debates often rage on social media over whether activists should read the­o­ry. One answer to the ques­tion might be the com­mit­ment of RATM, who have stead­fast­ly lived out their con­vic­tions over the decades while also, osten­si­bly, read­ing Marx, Mar­cuse, and Fanon.

There are more acces­si­ble the­o­rists on the list: fierce essay­ists like for­mer death row inmate and Black Pan­ther Mumia Abu-Jamal and Hen­ry David Thore­au, whose Walden and “Civ­il Dis­obe­di­ence” both appear. The Anar­chist Cook­book shows up, but so too does Dr. Suess’ The Lorax, biogra­phies of Miles Davis and Bob Mar­ley, Taschen’s Dali: The Paint­ings, James Joyce’s A Por­trait of the Artist of a Young Man, and Hen­ry Miller’s Trop­ic of Can­cer. This is not a list of strict­ly “polit­i­cal” books so much as a list of books that open us up to oth­er ways of see­ing.

These are also, in many cas­es, books we do not encounter unless we seek them out. “I cer­tain­ly didn’t find any of those books at my Uni­ver­si­ty High School library,” de la Rocha told MTV in 1996, “Many of those books may give peo­ple new insight into some of the fear and some of the pain they might be expe­ri­enc­ing as a result of some of the very ugly poli­cies the gov­ern­ment is impos­ing upon us right now.” Doubt­less, he would still endorse the sen­ti­ment. The work­ings of the Machine, after all, don’t seem to change much for the peo­ple on the bot­tom when it gets new man­age­ment at the top.

Read the full list of Evil Empire book rec­om­men­da­tions on Good Reads. And as a bonus, hear a Spo­ti­fy playlist of rad­i­cal music just above, com­piled by RATM gui­tarist Tom Morel­lo. The 241 song list runs

via Rad­i­cal Reads

Relat­ed Con­tent: 

Tom Morel­lo Responds to Angry Fans Who Sud­den­ly Real­ize That Rage Against the Machine’s Music Is Polit­i­cal: “What Music of Mine DIDN’T Con­tain Polit­i­cal BS?”

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Mar­ley, Pub­lic Ene­my, Bil­ly Bragg & More

The Entire Archives of Rad­i­cal Phi­los­o­phy Go Online: Read Essays by Michel Fou­cault, Alain Badiou, Judith But­ler & More (1972–2018)

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

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