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.
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?
– 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).
– 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*
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.