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Lose Yourself (In Mud): An Annotated Guide to the Archaeologists Rap

9 Feb

The following post presents a hopefully humorous lyrical remix of Eminem’s hit Lose Yourself, a rap song released in 2002 on the soundtrack of the film 8 Mile.  8 Mile is an autobiographical film based on the early life of the rapper Eminem (real name Marshall Mathers III), who also plays the lead character in 8 Mile.  The film chronicles the early struggles he had to break into the world of rapping, alongside the growth and development of his unique style among the underground ‘rap battles’ where reputations are forged and broken.  A significant character in the film is the setting itself, the old economic powerhouse city of Detroit, in Michigan, USA, which, following the collapse of some of its major motor industry, helps forge the identity and background of the characters in the film.  The ‘8 Mile’ of the film title refers to the 8 Mile Road (part of the M-102 highway) in Detroit, which bisects different suburbs of Detroit and is home to the main character, and is used in this instance to typically refer to the split between the economic and racial divide on each side of the road.  The original song is linked via a Youtube video below, so please do familiarize yourself with the flow of the original rap and then take a read through my light-hearted lyrical remix.  Although an attempt at archaeological humour, this post none-the-less raises some pertinent issues facing the archaeological researcher and excavator.

Source Material

Eminem’s song Lose Yourself can be found on the soundtrack to his autobiographical film 8 Mile, both of which were released in 2002.  No copyright infringement is intended and the original lyrics remain the property and copyright of their owners.  The basis for the lyrics of the original song used below have been taken from the AZLyrics website, see the version I used here.  This remix is only intended for educational purposes on the life of the archaeologist.  The video to the song can be found below (please be aware that there is some strong language in the song):

Lose Yourself (In Mud): A Rap Remix

– Intro –

‘Look, if you had, one trowel and one context sheet,
To record everything you ever wanted in one excavation or stratigraphy (1),
Would you capture it, or just let it slip?
Yo…’

Verse 1

‘His palms are sweaty, knees weak, diggers arms heavy (2),
There’s vomit on his hi-vis already (3): mom’s spaghetti,
He’s nervous, but on the surface he looks calm and ready,
To drop GPS points but he keeps on forgetting,
What he wrote down, the whole road crew goes so loud,
He opens his mouth but the words won’t come out,
He’s choking, how? Everybody’s joking now (4),
The digger’s getting closer, time’s up, over – diesel wow!
Snap back to reality, oh, there goes the ground,
Oh, there goes safety helmet, he choked, he’s so mad but he won’t,
Give up that easy nope, he won’t have it, he knows
His whole back’s to these trenches, it don’t matter, he’s gonna cope,
He knows that, but he’s bone broke (5), he’s so stagnant, he knows
When he goes back to this temporary site home, that’s when it’s
Back to the field again, yo, this whole rhapsody,
He better go record this context and hope it don’t pass him.’

Chorus/Hook

‘You better lose yourself in the field, the moment,
You dig it, you better never let it go (go)
You only get one shot, do not miss your chance to record,
This context comes once in a lifetime (yo)
‘You better lose yourself in the field, the moment,
You dig it, you better never let it go (go),
You only get one shot, do not miss your chance to sketch the trench,
This context comes once in a lifetime (yo).
(You better).’

Verse 2

‘The soil’s escaping, through this bucket that is gaping,
This Iron Age world is mine for the taking,
Make me a tribal king, as we move towards a Roman world order (6),
A field life is boring, but superstardom’s close to post-excavation (7),
It only grows harder, co-workers grow rowdier,
He drinks. It’s all over. These back-hoes is all on him,
Coast to coast shows, he’s known as the globetrotter (8),
Lonely digs, God only knows,
He’s grown farther from the department, he’s no researcher,
He goes home and barely knows his own publication record (9),
But hold your nose ’cause here goes the cold water,
His back-hoes (and other associated fieldwork tools) don’t want him no more, he’s ex-excavator
They moved on to the next fully-funded dig,
He nose dove and sold nothing of his previous book,
So the soap opera is told and unfolds,
I suppose it’s old partner, but the troweling goes on,
Da da dum da dum da da da da…’

(Back to Chorus/Hook)

Verse 3

‘No more minimum wage, I’m a change what you call pay raise,
Tear this mothertrucking tarp off like two dogs caged,
I was back-filling in the beginning (10), the mood all changed,
I’ve been chewed up and spit out and booed off site,
But I kept recording and stepped right into the next minivan,
Best believe somebody’s playing the repeat record,
All the pain inside amplified by the,
Fact that I can’t get by with my 7 to 5,
And I can’t provide the right type of life for my family,
‘Cause man, these muddy boots don’t provide no good loots (11),
And it’s no Indiana movie, there’s no Jane Buikstra (12), this is my life
And these times are so hard, and it’s getting even harder
Trying to feed and water my underfunded project, plus
Teeter totter caught up between being a teacher and a part-time researcher,
Baby, student’s drama screaming on at me,
Too much for me to wanna stay in one spot (13),
Another day of digging’s gotten me to the point,
I’m like an arthritic snail,
I’ve got to formulate a theory, a methodology or an application,
Single context recording is my only archaeological option, failure’s not,
Site leader, I love you, but this trailer’s got to go,
I cannot grow old in Parker Pearson’s lot (14),
So here I go it’s my shot.
Feet, fail me not,
This may be the only excavation that I got.’

(Back to Chorus/Hook)

Ending

‘You can do anything you set your mind to, archaeologist…’ *raises trowel in solidarity as camera pans away and music fades*

Archaeological Annotations

1.  Archaeological excavation is a fundamentally destructive process, therefore it is of the utmost imperative to record exactly what is uncovered, where and when.  Each stratigraphic horizon within an archaeological dig (the boundaries between different contexts, which can be either man-made or natural) are generally recorded to build up a site activity profile.  Features within the stratigraphic contexts, such as cuts or fills, are also recorded and excavated, with special notice given to structural or material remains found within the discrete horizons.

2.  Commercial field archaeology is not a physically easy job – it is also a demanding, time-consuming and pressurized job due to a number of variables.  These can be, but are not limited, the time allowed in which to excavate as set out by the conditions of construction, the weather, the travel involved to-and-from site, the temperament of the your co-workers, the physical and mental capabilities of your own body, the constant social re-scheduling due to upcoming site unpredictability, the long-term job insecurity, etc.  If you see an archaeologist in the pub, or out excavating, be sure to buy them a pint or a clap them at a job well done.  They’ll love it and remember that the public don’t think that archaeology is all about the gung-ho, ethics destroying, human remains violating, probable national law-breaking, relic selling, macho aggression exploits of Nazi War Diggers (or Battlefield Archaeology, for the UK readers), which shows the profession in a context-obliterating style.

3.  Safety is of paramount importance on-site.  Be aware of your escape routes.  Watch out for heavy machinery.  Wear a hard hat if needed.  Shore up that trench if you are going deep.  Get certified with the Construction Skills Certification Scheme White Card, or comparative scheme, which certifies the basic safety skills for archaeological field technicians.  See the incredibly helpful British Archaeological Jobs Resource guide on the White CSCS card here.

4.  Archaeologists often work side-by-side with the construction industry; it is why archaeology took such a hit both in the localised Celtic Tiger boom and bust in Ireland, for example, and in the global recession of 2008.  If there isn’t any construction going on, there aren’t going to be many excavations going on either.  (Though try telling that to the academic departments who excavate at will).

5.  Bone Broke, by bioarchaeologist PhD candidate Jess Beck, is one heck of a site to learn about the joys of human osteology.  Check it out now.

6.  The pesky rise of the Romans helped spell the end of many Iron Age cultures throughout Europe as the Roman republic (which later mutated into an Empire) battled, amalgamated or integrated their way of life with their barbarian neighbours.

7.  First you freeze in the field, then you freeze in the cold artefact storeroom.

8.  Archaeology, as a profession, offers many, many chances to travel the world and to dig at sites that span the length and breadth of human evolution.  If you are a student, or volunteer archaeologist, you too can check out the many options available to you.

9.  ‘Publish or be damned’ is a normal phrase in archaeology, despite the distinct lack of monetary incentive on behalf of the main academic publishers.  If an archaeological site is excavated, but not published at all, that can lead to the distinct loss of knowledge of that site from the archaeological record (!).  If you care about the archaeological record, get the findings of the dig written up, the specialist material unearthed and analysed properly, and then get it published for the whole world to know about and rejoice in.  You may regret the lack of money in your wallet, but that sense of satisfaction out-weights those empty pockets (hopefully).

10.  The back-filling of a trench is carried out once the archaeological site has been properly excavated and recorded as much as necessary, or is able to be.  Back-filling involves moving the soil from space to another, which is a fine description of archaeological excavation itself.  The tower of backfill is also a place where unlikely, but lucky, finds can be found stripped of their context.

11.  Contrary to the general public perception of archaeology excavations being full of characters in the mould of Dr Indiana Jones this is somewhat gladly not the case.  (Though you will, inevitability, find one or two first year archaeology students ‘ironically’ dressed up as Indiana in the first week or so of the course).  At best though Dr Jones is a looter and archaeologists never loot – we record like our lives depend on it, imagining that if we don’t record the archaeological sites we survey and excavate the giant rolling rock will (rightly) chase us down and flatten us where we stand.

12.  Prof. Jane Buikstra (Arizona State University) is one of the core founders of bioarchaeology (the study of the human skeleton and mummified tissue from archaeological contexts) as a discipline in its own right within the United States.  Buikstra, along with other early bioarchaeology researchers, has helped to set the gold standard for skeletal analysis and she continues to be a dynamic force within the discipline.

13.  Short term adjunct professor contracts in the United States and general short-term teaching contracts in the UK, alongside the general vagabond lifestyle of the field archaeologist, make being a professional archaeologist adept at moving completely at short notice.  Fieldwork is also notoriously underpaid considering how educated the workforce is in comparison to other skilled workforces.  The British Archaeological Jobs Resource is helping to try to curb that by launching the More Than Minima campaign in its advertising of job posts.  See the 15/16 Pay and Conditions document here, which set out a useful recommendation for the companies offering commercial archaeology jobs.

14.  Mike Parker Pearson (University College London) is a well-known prehistoric and funerary archaeologist, perhaps best known for researching and excavating the Wiltshire Neolithic and Bronze Age landscape in England, of which Stonehenge and Durrington Walls are one important part.  His 1999 Archaeology of Death and Burial book is a must for all budding bioarchaeologists.

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Revisiting ‘Nazi War Diggers’: Editorial in the Journal of Conflict Archaeology

30 Sep

In the latest edition of the Journal of Conflict Archaeology there is an editorial that briefly discusses the professional response of archaeologists (via social media) to the proposed (and now cancelled) National Geographic Channel show Nazi War Diggers (Pollard & Banks 2014).  As readers of this blog, and other archaeological blogs, may be aware that a whole can of worms was opened when the National Geographic Channel started to advertise their Nazi War Diggers program online.  The clips that the station put up online showed almost zero respect to the uncovering and exhuming of the dead of WWII on the Eastern Front (the clips shown seemed to focus primarily on a battleground site in Latvia), and little (if any) attention paid to the archaeological context of the remains themselves.

Field archaeology is a largely destructive method of uncovering and documenting a unique and non-replenishing resource, hence why great care is taken in the contextual recording and analysis of archaeological sites in various mediums (in the use and application of excavation methodology, on-site recording, recording of site formation, specialist reports, conservation of artefacts, film photography, digital media, etc.).  So it was no surprise that, when the footage of Nazi War Diggers was promoted, archaeologists and other heritage specialists were horrified at the unprofessional and unethical treatment of both the human material recovered and of the associated artefacts, such as the Nazi memorabilia uncovered.  Perhaps what was/is even more worrying is the long-term deposition and custody (i.e whereabouts) of the remains and artefacts that were excavated, alongside the actual legality surrounding the actions of venture itself.  As osteoarchaeologist Alison Atkin succinctly highlighted at the time – ‘it  is every kind of wrong’.

As Pollard & Banks (2014: 51) remark it was not just social media that picked up on the outrage of the show but also mainstream media, such as newspapers, that highlighted the professional and personal distaste with the Nazi War Diggers program.  A very important point here is highlighted in the editorial, which bloggers such as Sam Hardy at Conflict Antiquities also noticed, was how the National Geographic Channel replied.  The company removed the questioned video from their site, edited the text and removed damaging quotes from the lead presenter (‘by selling things that are Nazi related and for lots of money, I’m preserving a part of history that museums don’t want to bother with‘, as quoted in Pollard & Banks 2014: 51).  As readers will no doubt be aware individuals who fell in the Second World War can still be identified, can still be returned to their families for burial, can still have living relatives who may have known them.  With these points in mind, even barring the unethical exhumation and nonsense comments, it becomes clear that the treatment of the remains on Nazi War Diggers was, at the least, potentially offensive.

Still the debacle helped to unite a range of heritage professionals in condemnation and, to their good and commendable credit, the National Geographic Channel have pulled the show and have started an inquiry.  This very fact highlights that the company have at least heard the views of the many professional individuals and members of the public that have contacted them (tough though that may have been).  As Sam Hardy further highlights the narrative isn’t that clear-cut either as there were a number of different organisations involved during the making and producing of Nazi War Diggers, including Legenda, the company used in the Latvian sequence of the show.  It is pertinent here to include a quote from hardy’s blog entry regarding the Legenda organisation, and those like it, who work in tough environments:

Since there are still war survivors and missing persons as well as mass graves and battlefields in Latvia, Latvians are still living in the aftermath of the conflict. Dealing with survivors’ and relatives’ loved ones as past, as archaeology, is a delicate, painful process.

Being respectfully scientific with fallen soldiers can be experienced by soldiers’ relatives as being disrespectfully clinical. And that pressure is felt by the volunteers who do the work as well as by the archaeologists who cannot secure professional standards of work.” (Hardy 2014, but see here also).

Yet there are still serious questions that remain in the commission of Nazi War Diggers and of the relationship between the television and archaeology in general.  Battles, and battlefields, have long been a staple for re-enactments on historical documentaries on television, yet not many have actively highlighted the excavation of human remains with such abandon as Nazi War Diggers.  Furthermore, there is the very real danger that this show has undermined the credibility of conflict archaeology as an emerging, but important, field in itself.  With the centenary of the First World War upon us, and important archaeological investigations into the sites where the horrors of the holocaust were carried out in the World War Two (see Sturdy Colls 2012 for non-invasive techniques used at the Treblinka camp), this can be seen as particularly insensitive and crass.  Archaeology is not the handmaiden of history, but walks alongside it hand in hand, helping to provide vital physical evidence to the documentary evidence.  A particular problem is further highlighted by Pollard & Banks, which is this:

How did we get to a situation where something like Nazi War Diggers is regarded as a desirable product by a major broadcaster such as National Geographic Television? This is not the place to attempt an answer to this question but we have clearly reached a point where some self-reflection is called for, especially by those of us who have benefitted from our involvement in television.

We can only hope that National Geographic Television’s decision to pull the series means that a change of commissioning policy will be considered, with a return to more responsible programming, which does both television and the practice of archaeology credit.” (Pollard & Banks 2014: 52).

The editorial is an interesting piece and I’d recommend taking the time to read it.  In the meantime myself and other archaeology bloggers will be keen to see what the National Geographic Channel get up to with the footage already shot for the Nazi War Diggers program and whether it comes back, or not, in any shape or form.  The response of many of the bloggers to the show (including myself) has been a reactive reaction to it, decrying it for the lack of care and thought put into the show’s presentation and approach.  However it has undoubtedly raised knowledge of what is a very tangible and emotional remainder of the actual human cost of conflict and war – the survival, exhumation and recovery of the remains of individuals killed in action, whether participating as active soldiers or as civilians.

As Pollard & Banks (2014: 52) highlight we, as active bloggers and specialists in this area, must also engage, educate and help inform both the general public and organisations (including National Geographic Channel) as to what is the appropriate approach when it comes to excavating, analysing, and presenting the remains of humans excavated from both archaeological and historic contexts.  If we don’t more programs, such as Nazi War Diggers, will be produced, which will lead to the decay of contextual information and, ultimately, the loss of knowledge.

Learn More:

Bibliography

Hardy, S. 2014. A Note on the Volunteer Human Rights Exhumers Legenda. Conflict Antiquities. Accessed 30th September 2014.

Pollard, T. & Banks, I. 2014. Editorial. Journal of Conflict Archaeology9 (2): 49-52. (Open Access).

Sturdy Colls, C. 2012. Holocaust Archaeology: Archaeological Approaches to Landscapes of Nazi Genocide and Persecution. Journal of Conflict Archaeology.  7 (2): 70-104.

AJA Report: ‘Archaeological Site Looting in “Glocal” Perspective: Nature, Scope, and Frequency’

5 Jan

There is an open access article in the latest American Journal of Archaeology by Blythe Bowman Proulx (2013: 111-125)  entitled ‘Archaeological Site Looting in “Glocal” Perspective: Nature, Scope, and Frequency’, that debates the nature of archaeological looting on a global scale.

The abstract of Proulx’s article is below:

“The looting of archaeological sites undermines the preservation of cultural heritage. The purpose of this study is to broaden and refine our understanding of the nature, geographic scope, and frequency of looting and archaeological site destruction and to place looting in global perspective. Situated within a “glocal” (global and local) context, this study focuses on a large sample of field archaeologists working throughout the world and their opinions about and personal encounters with looting. Some key findings are presented: first, that the overwhelming majority of surveyed field archaeologists have experienced looting firsthand on more than one occasion; second, that archaeological site looting is in fact a globally pervasive problem and is not limited to certain parts of the world to the exclusion of others. The paper ends with a consideration of the implications of such findings for the broader cultural heritage debate.”

egyptian-museum-artifacts-looted-damaged-mummies_31830_600x450

The after effects of looting, in this case the desecration of two mummies, at the Egyptian Museum in Cairo during the Egyptian uprising in January last year. Whilst highlighting the effects of looting, it is also good practice to show the response to it, in this case members of the public and professionals of the city forming ‘a human chain’ around the museum to protect the artefacts and heritage inside the museum (Source: National Geographic/AP).

Context is king, and without this we risk losing cultural heritage and understanding on a massive scale due to the looting of archaeological artefacts and sites worldwide.  This is a strong article helping to document first hand experience of looting at archaeological sites from around the world.  It is well worth a read and presents a recurrent archaeological problem in careful consideration of the world wide context.  Proulx’s (2013: 123) devastating conclusion is that:

“archaeological site looting is a globally pervasive, commonplace, iterative, and not decreasing appreciably is a critical finding.  Looting- and, consequently, the role it may play in the antiquities trade- can no longer be dismissed as simply exaggerated, nor can concerns about looting be cast off as mere products of scaremongering archaeologists with overblown imaginations and thinly veiled preservationist agendas.”

Bibliography:

Proulx, B. B. 2013. Archaeological Site Looting in “Glocal” Perspective: Nature, Scope, and Frequency. American Journal of Archaeology. 117: 111-125.