Exquisite Watercolors of Demons, Magic & Signs: Behold the Compendium Of Demonology and Magic from 1775

Noli me tangere, says the title page of the Compendium of Demonology and Magic: “Do not touch me.” For the book’s target audience, one suspects, this was more enticement than warning. Written in Latin (its full title is Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros) and German, the book purports to come from the year 1057. In fact it’s been dated as more than 700 years younger, though to most 21st-century beholders a book from around 1775 carries enough historical weight to be intriguing — especially if, as the Public Domain Review puts it, it depicts “a varied bestiary of grotesque demonic creatures.”

The specimens catalogued in the Compendium of Demonology and Magic are “up to all sorts of appropriately demonic activities, such as chewing down on severed legs, spitting fire and snakes from genitalia, and parading around decapitated heads on sticks.”

Grotesquely combining features of man and beast, these hideous chimeras are rendered in “more than thirty exquisite watercolors” that still look vivid today. In fact, with their punkish costumes, insouciant expressions, and often indecently exposed nether regions, these demons look ready and willing to cause a scandal even in our jaded time.

Nearly two and a half centuries ago, we might fairly assume, a greater proportion of the public believed in the existence of demons — if not these specific monstrosities, then at least the concept of the demonic in general. But we’re surely lying to ourselves if we believed that nobody in the 16th century had a sense of humor about it. Even the work of this book’s unknown illustrator evidences, beyond formidable artistic skill and wild imagination, a certain comedic instinct, serious business though demonic intentions toward humanity may be.

With its less humorous content including execution scenes and instructions for the procedures of witchcraft from divination to necromancy, the Compendium of Demonology and Magic belongs to a deeper tradition of books that elaborately catalog and depict the varieties of supernatural evil. (A much older example is the Codex Gigas, previously featured here on Open Culture, a “Devil’s Bible” that also happens to be the largest medieval manuscript in the word.)

You can behold more of these delightfully hellish illustrations at the Public Domain Review and even download the whole book free from the Wellcome Collection. (See a PDF of the entire book here.) And no matter how closely you scrutinize your digital copy, you won’t run the risk of touching it.

The Compendium of Demonology and Magic is one of the many texts featured in The Madman’s Library: The Strangest Books, Manuscripts and Other Literary Curiosities from History, a new book featured on our site earlier this week.

via Public Domain Review

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Behold the Codex Gigas (aka “Devil’s Bible”), the Largest Medieval Manuscript in the World

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.

Grateful Dead Fan Creates a Faithful Mini Replica of the Band’s Famous “Wall of Sound” During Lockdown

A few years ago we told you about the Wall of Sound. Not the one created in the studio by Phil Spector, but the one created by Grateful Dead tech engineer Owsley “Bear” Stanley out of over 600 speakers. Before the Dead worked to revolutionize how rock concerts could sound, the speakers at live shows were trebly, underpowered things, having not been designed for the sudden change in musical texture and sound during the 1960s. In the early days, speakers were mostly used to make sure the drums didn’t drown out the other band members. Stanley’s three-story, 28,800-watt massive wall, with columns of speakers dedicated to each musician, promised crisp fidelity more so than pure loudness. In developing the set-up, Stanley and his fellow engineers helped introduce ideas still being used in live sound today.

For all that, however, the Wall only got used for seven months of touring in 1974. It took hours and hours to assemble and disassemble. For those who heard it, the system lived up to its hype. And it was immortalized in the Winterland, San Francisco shows filmed for The Grateful Dead Movie (watch it online).

Now, nearly 50 years later a dedicated fan has rebuilt the wall as a 1/6th scale model in his basement. While some of us took up baking during 2020’s COVID lockdown, Anthony Coscia began to work four hours a day, every day, for two months, on this model. He posted his progress on Instagram and Deadheads, most of which hadn’t seen the real thing in person, lost their minds. (See this video to get a good taste of things.) Coscia also had never seen the fabled Wall in real life—he would have been a toddler at the time. But he made up for it later in the late ‘80s, seeing the band 35 times, and the Jerry Garcia Band 25 times.


An architect by day, Coscia insisted on the smallest details being replicated, urged on by social media. The finished model is 6 foot, 8 inches tall and 10 feet wide, and features 390 working speakers. It pumps out a not-exactly-Winterland-worthy 800 watts.

“It’s a massive glorified clock radio but it sounds better than I thought,” he told the Wall Street Journal.

And although he spent $2,000 in total, he’s already been offered $100,000 for it from an anonymous donor.

The obsession with the band continues a half-century later. A just announced series of shows by Bob Weir’s Dead & Company in January 2022—in Cancun, of course, where it’s warm—have sold out.

Related Content:

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The Grateful Dead Movie: Watch It Free Online

Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

Listen to ABBA’s “Dancing Queen” Played on a 1914 Fairground Organ

To truly appreciate the spectacle of ABBA’s “Dancing Queen” played on a 1914 Hooghuys fairground organ, we recommend you read Angus Harrison’s 2016 VICE essay, “Why Abba’s ‘Dancing Queen’ Is the Saddest Record Ever Made“:

Make no mistake. This song is about the dancing queen, but it is most definitely not sung by her. Herein lies the tragedy. Our narrator has realized that she is no longer the Dancing Queen. She is no longer young, no longer sweet, no longer 17. Now, instead, she watches from the bar; the dancefloor a maelstrom of lost faith, memories, and missed opportunities. She was once 17, and as such was totally oblivious that the moment would ever end.

Could such sentiments apply to the above instrument, whose carved figurines, ornate scrollwork, and distinctive sound definitely suggest that however lovingly it’s been maintained, its prime is long past.

This 105-year-old organ was already 62 when “Dancing Queen” was released at the height of the disco craze in 1976.

The tune quickly soared to the top of the charts worldwide, as fans raced to the record store to pick up a 45, or the full album, Arrival, on vinyl, cassette, or 8-track.

But production of punched, cardboard scrolls such as the ones these meticulously hand built instruments — no two alike! — use had long since ceased.

site dedicated to Hooghuys organs ties their decline to the end of WWI, citing the necessity of cheaper post-war production. When the founder of the family business died, shortly thereafter, the firm ceased to exist.

Flash forward to this millennium, when a mechanical music aficionado named Alexey Rom used MIDI — Musical Instrument Digital Interface — to give the aged organ new life, programming his own arrangement, then using an automatic punch to create cardboard cards the instrument was capable of reading.

His first such triumph came when he equipped a similar organ to cover Queen’s “Bohemian Rhapsody.” “Dancing Queen,” and many other popular favorites that didn’t exist in the organs’ heyday followed. (We’re pretty partial to “Mack the Knife” played on an 81-key Marenghi organ from 1905…)

Below Rom shares a tiny peek into his process.

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Bach’s Most Famous Organ Piece Played on Wine Glasses

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

Experience Footage of Roaring 1920s Berlin, Restored & Colorized with Artificial Intelligence

Offered the chance to travel back in time to any city in any period, surely more than a few would choose Berlin in the 1920s. Ideally it would be Berlin in the mid-1920s: after much of the social and economic damage of the Great War had been repaired, but before the Great Depression reached Germany at the end of the decade, doing its part to enable the rise of Hitler. The closest experience to stepping in that time machine yet developed is the video above, a series of clips from Walther Ruttmann’s 1927 documentary Berlin: Symphony of a Metropolis, previously featured here in Open Culture — but smoothed out, scaled up, and colorized with the aid of applications powered by artificial intelligence.

Describing it as “the real Babylon Berlin of the 1920s” portrayed “from dawn until dusk in three minutes,” the video’s poster emphasizes that the Berlin of the Weimar Republic (the German state from 1918 to 1933) “was a multi-cultural city” — which it is again today, though a little less than a century ago it was one “teeming with flappers, bobbed hair, cloche hats, and the dancing girls of Berlin’s infamous cabaret scene.”

During these Weimar “Golden Years,” Berlin experienced a “cultural explosion,” the vividness of which is underscored by the myriad enhancements performed on Ruttmann’s already striking original footage. These include the use of DeNoise, the interpolation of motion “using a deep learning open source program Dain-App,” and the addition of color with Deoldify.

You may recognize the name of that last application, which was used a couple of years ago to create a “remixed” version of Fritz Lang’s Metropolis, now nowhere to be found on the internet. Other, more benign uses of DeOldify include the colorization of dance sequences from black-and-white films like Stormy Weather and Hellzapoppin’, as well as of an 1896 snowball fight originally captured by the Lumière Brothers. Ruttmann’s work, and that of other creators of “city symphonies” in the 1920s, builds on that of those cinema pioneers for whom real life was the natural subject, capturing livelier urban environments with dynamic and innovative shooting and editing techniques to match. If you enjoy your three minutes in the DeOldified version of his Berlin, why not spent a little more of your day in similarly deep-learning-enhanced Paris, New York, and Havana of the past as well?

via MessyNessy

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See Berlin Before and After World War II in Startling Color Video

Berlin Street Scenes Beautifully Caught on Film (1900-1914)

Watch 1920s “City Symphonies” Starring the Great Cities of the World: From New York to Berlin to São Paulo

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.

Stream a Massive Archive of Grateful Dead Concerts from 1965-1995

Image by Herb Greene, via Wikimedia Commons

“Once we’re done with it, the audience can have it.” — Jerry Garcia

It so happens that one of the greatest things about the Internet is also one of the not-so-greatest things: you hardly ever have to leave the house anymore. Of course, for traders and collectors of bootlegs, this has been a major boon. Obscure tapes a fan might spend years tracking down in previous times can now be searched, found, and downloaded with ease. And — as a special added bonus — their quality won’t degrade with every copy.

For Deadheads, especially, such easy online access has been critically important in maintaining a community of people who love the Grateful Dead, when there hasn’t been a Grateful Dead show in years. That’s enough time for new generations of Deadheads to emerge, and to discover and grow up with a resource their elders could only dream about: the Internet Archive’s Grateful Dead collection, which currently features over 15,000 recordings (mostly complete concerts) and continues to expand as more are added.

Sure, it’s not quite compensation for never getting to see, and tape, the band in person, but these days, such a thing would probably be impossible in any case, even if Jerry Garcia hadn’t died in 1995. (Last year, to keep fans’ spirits up, band members Mickey Hart, Bob Weir, and Donna Jean Godchaux welcomed famous special guests on YouTube and broadcast unreleased filmed concerts in the weekly “Shakedown Stream.”) For those raised on Dead tapes, the archive must feel like coming home. For others, it can be a bewildering collection of dates, venues, and locations.

How to navigate the thousands of recordings of the estimated 2,200 concerts captured on tape by the band and their fans over the course of decades? A few years back, one fan made a list of the “10 Essential/Best Grateful Dead Shows,” all of which you can download and/or stream and pore over to your heart’s content.

“I am not an old Dead Head, or a member of the 4-decade club,” he admits. “In fact, I never saw a show, seeing as I was born in 2001.” It’s not his fault, but he’s entered an arena where fundamental disagreement about such things is a matter of course.

1. 09-21-72, The Spectrum, Philadelphia, PA
2. 05-08-77, Cornell University, Ithaca, NY
3. 02-27-69, Fillmore West, San Francisco, CA
4. 05-02-70, Harpur College, Binghamton, NY
5. 08-27-72, Veneta, OR
6. 07-07-89, JFK Stadium, Philadelphia, PA
7. 05-26-72, The Strand Lyceum, London, England
8. 12-31-78, Winterland Arena, San Francisco, CA
9. 11-08-69, Fillmore Theater, San Francisco, CA
10. 12-06-73, Cleveland Public Hall, Cleveland, OH
11. 06-26-74, Providence Civic Center, Providence, RI

See the top ten list above (including links to shows), find honorable mentions here, a shorter list by Mike Mineo here, and add your own picks in the comments. And consider the fact that a band who devoted more time to touring than anything else “had just one Top Forty hit in thirty years,” Nick Paumgarten writes at The New Yorker (though “not for lack of trying”). They more than their share of terrible nights onstage (by their own admission) but still inspire people who will never see them play.

“Each tape seemed to have its own particular note of decay, like the taste of the barnyard in a wine or a cheese,” writes Paumgarten of learning to savor these concerts: “You came to love each one, as you might a three-legged dog.” For Deadheads, it can be hard to pick favorites, especially if you haven’t heard them all yet. Immerse yourself in live Dead now at the Internet Archive’s Grateful Dead Collection here. Browse by the year of the recordings here.

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The Grateful Dead Movie: Watch It Free Online

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The Grateful Dead’s “Ripple” Played By Musicians Around the World (with Cameos by David Crosby, Jimmy Buffett & Bill Kreutzmann)

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

Is “Rain” the Perfect Beatles Song?: A New Video Explores the Radical Innovations of the 1966 B-Side

“That one was the gift of God… of Ja actually—the god of marijuana, right? So Ja gave me that one.”

The Beatles 1966 Revolver, a mini-masterpiece, contains all the elements that would inform the band’s revolutionary late-60s sound on Sgt. Pepper’s, Abbey Road, The White Album, and Let it Be. The album’s first track, “Taxman,” announced “a sweeping shift in the essential nature of the Beatles’ sound,” writes music historian Kenneth Womack. Its ultimate track, “Tomorrow Never Knows,” was “the greatest leap into the future” up to that point in their career, argues pop culture writer Robert Rodriguez, who literally wrote the book, or a book, on the sea change that was Revolver.

Critical to discussion of this period, however, is a single that appeared at the same time, and proved just as important to the Beatles’, and thus pop music’s, evolution. Though not especially innovative musically or lyrically, “Paperback Writer” was the first Beatles’ recording to bring Paul McCartney’s bass forward in the mix, showcasing the utterly distinctive playing that would later form the backbone of songs like “Come Together.” The record’s B-side, “Rain,” moreover, is the first Beatles song to use backwards tape, a staple of psychedelic music thereafter.

In fact,  “Rain” was “the first backwards tape on any record anywhere. Before Hendrix, before The Who, before any f*cker,” John Lennon bragged. (He conceded that the novelty hit “They’re Coming to Take Me Away, Ha Haaa!” got there a little earlier, “but it’s not the same thing.”). Lennon claimed the song as his, although McCartney later claimed co-authorship. But Lennon gave credit for the backwards voices and guitars to “Ja,” telling Playboy in 1980:

I got home from the studio and I was stoned out of my mind on marijuana… and, as I usually do, I listened to what I’d recorded that day. Somehow it got on backwards and I sat there, transfixed, with the earphones on, with a big hash joint.

There’s much more to the story of “Rain,” as you’ll hear in the You Can’t Unhear This video above. The track came out of “what would arguably be the most revolutionary week of their recording career… working closely with their beloved producer George Martin and an eager young EMI engineer named Geoff Emerick.” In “Rain,” specifically, they took full advantage of a discovery made on “Tomorrow Never Knows” — the impact of slowing down recordings.

The band “played the rhythm track really fast,” during recording, “so that when the tape was played back at normal speed everything would be so much slower, changing the texture,” remembered Emerick. This led to what McCartney would call a “big ominous noise”:

The drums became a giant drum kit. If you slow down a footstep it becomes a giant’s footstep, it adds a few tones to the weight of the person. So we got a big, ponderous, thunderous backing and then we worked on top of that as normal. 

Ringo called it the greatest performance of his musical career: “I think I just played amazing… I think it was the first time I used this trick of starting a break by hitting the hi-hat first instead of going directly to a drum off the hi-hat.”

Contrarians love takes about iconic artists like the Beatles that overstate the importance of deep cuts and minor recordings. But in the case of “Rain” — the B-side of a 1966 single that didn’t appear on the album that changed rock and roll and the counterculture that same year– believe the hype. The Beatles themselves single out the song as seminally important to their musical development for good reason. Or as Sir Paul recalls, “It was nice, I really enjoyed that one.”

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

The Trial of the Chicago 7 and the Oeuvre of Aaron Sorkin: An Assessment by Pretty Much Pop: A Culture Podcast (#89)

In lieu of an Oscars episode, the Pretty Much Pop podcast this week considers one of the nominated films, The Trial of the Chicago 7, and the career of its writer/director, Aaron Sorkin, which started with A Few Good Men through four TV series (most notably The West Wing), and films like The Social Network, Steve Jobs, and Molly’s Game.

Your hosts Brian Hirt, Erica Spyres, and Mark Linsenmayer consider Sorkin’s stock recurring characters and their political diatribes, plots often based on true events, and how his writing creates drama. Do we feel uplifted or vaguely dirty after a Sorkin bath? It’s great to have characters that aren’t stupid, but are they actually smart or just designed to seem that way? Are the deviations from fact just good use of dramatic license or positively harmful? We touch on virtually all of Sorkin’s productions (well, except for the plays; he actually considers himself natively a playwright) and still have energy for a few Oscars musings and reflections about including real locations or news events in fiction.

Here are some articles we used to prepare ourselves:

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 Strangest Books in the World: Discover The Madman’s Library, a Captivating Compendium of Peculiar Books​ & Manuscripts

If you are a frequent reader of Open Culture, or the many blogs we tend to read — especially those concerned with the rare, unusual, and obscure — it’s likely you’ve encountered some of the books in The Madman’s Library, Edward Brooke-Hitching’s fantastic new volume of literary oddities. If not, you’re probably familiar with a few of the categories he identifies under his subtitle, “The Strangest Books, Manuscripts and Other Literary Curiosities from History.” These include “Books Made of Flesh and Blood,” such as a Qur’an written in 50 pints of Saddam Hussein’s blood. If such artifacts don’t qualify as “literary curiosities,” it’s hard to know what does.

Brooke-Hitching grants the designation “curiosity” is subjective, and culturally determined, “but after nearly a decade of searching through catalogues of libraries, auction houses and antiquarian book dealers around the world,” he writes in his introduction,” works of undeniable peculiarity leapt out.”

Or as he tells Smithsonian in an interview, “the more books you see, the more your radar is sensitive to something that pings with its strangeness.” He pulls out the first book in his bag as an example: a self-published collection of poetry by Charlie Sheen.

Perhaps few other people have laid eyes on such an enormous collection of oddball bibliographic treasures. These are not only books made of strange — and even deadly — materials; they are also books whose contents or histories are just plain weird.

The chapter ‘Curious Collections’… features similar projects of obsessive dedication, from medieval manuscripts of fantastic beasts, and guides to criminal slang of Georgian London (with plenty of lascivious highlights provided), to Captain Cook’s secret ‘atlas of cloth’ and the unexpectedly homicidal story of the origin of the Oxford English dictionary. Elsewhere, ‘Literary Hoaxes’ presents the best of the ancient tradition of deceptive writing–lies in book form–whether it be for satire, self promotion or as an instrument of revenge.

Of the latter, Brooke-Hitching cites Jonathan Swift’s series of pamphlets written under a pseudonym, “a successful campaign to convince all of London of the premature death of a charlatan prophet he despised.” In a chapter titled ‘Works of the Supernatural,’ Brooke-Hitching gives us the example of W.B. Yeats’ wife George, who transcribed “4000 pages of spiritual dictation in the first three years of their marriage.” Her automatic writing was published in a compilation called A Vision in 1925, but “through seven editions it was only Yeats’ name” on the title page.

There are ‘Books that aren’t Books,’ such as a skull inscribed with a prayer and a collection of autobiographical fragments embroidered on the linen jacket of an incarcerated seamstress; there are ‘Cryptic Books” like the Voynich Manuscript and poetry written in code. Part literary detective story, part bibliographic odyssey through time, part literary curiosity all its own (though more of the coffee-table variety), The Madman’s Library is a feast for bibliophiles and oddballs of all kinds. Pick up a copy here and see several more of exceptionally curious books over at Smithsonian.

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

Free Software Lets You Create Traditional Japanese Wood Joints & Furniture: Download Tsugite

The Japanese art of tsugite, or wood joinery, goes back more than a millennium. As still practiced today, it involves no nails, screws, or adhesives at all, yet it can be used to put up whole buildings — as well as to disassemble them with relative ease. The key is its canon of elaborately carved joints engineered to slide together without accidentally coming apart, the designs of which we’ve previously featured here on Open Culture in animated GIF form. Though it would be natural to assume that 21st-century technology has no purchase on this domain of dedicated traditional craftsmen, it does greatly assist the efforts of the rest of us to understand just how tsugite works.

Now, thanks to researchers at the University of Tokyo, a new piece of software makes it possible for us to do our own Japanese joinery as well. Called, simply, Tsugite, it’s described in the video introduction above as  “an interactive computational system to design wooden joinery that can be fabricated using a three-axis CNC milling machine.” (CNC stands for “computer numerical control,” the term for a standard automated-machining process.)

In real time, Tsugite’s interface gives graphical feedback on the joint being designed, evaluating its overall “slidabilty” and highlighting problem areas, such as elements “perpendicular to the grain orientation” and thus more likely to break under pressure.

This is the sort of thing that a Japanese carpenter, having undergone years if not decades of training and apprenticeship, will know by instinct. And though the work of a three-axis CNC machine can’t yet match the aesthetic elegance of joinery hand-carved by a such a master, Tsugite could well, in the hands of users from different cultures as well as domains of art and craft, lead to the creation of new and unconventional kinds of joints as yet unimagined. You can download the software on Github, and you’ll also find supplementary documentation here. Even if you don’t have a milling system handy, working through virtual trial and error constitutes an education in traditional Japanese wood joinery by itself.  The current version of Tsugite only accommodates single joints, but its potential for future expansion is clear: with practice, who among us wouldn’t want to try our hand at, say, building a shrine?

via Spoon & Tamago

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The Art of Traditional Japanese Wood Joinery: A Kyoto Woodworker Shows How Japanese Carpenters Created Wood Structures Without Nails or Glue

Mesmerizing GIFs Illustrate the Art of Traditional Japanese Wood Joinery — All Done Without Screws, Nails, or Glue

See How Traditional Japanese Carpenters Can Build a Whole Building Using No Nails or Screws

Watch Japanese Woodworking Masters Create Elegant & Elaborate Geometric Patterns with Wood

Nick Offerman Explains the Psychological Benefits of Woodworking–and How It Can Help You Achieve Zen in Other Parts of Your Life

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.

Mick Jagger Takes Shots at Conspiracy Theorists & Anti-Vaxxers in a New Song, “Eazy Sleazy” (with Dave Grohl on Drums, Bass & Guitar)

Follow along with the lyrics below, or in the video above.

W’e took it on the chin
The numbers were so grim
Bossed around by pricks
Stiffen upper lips
Pacing in the yard
You’re trying to take the mick
You must think i’m really thick

Looking at the graphs with a magnifying glass
Cancel all the tours footballs fake applause
No more travel brochures
Virtual premieres
Ive got nothing left to wear

Looking out from these prison walls
You got to rob peter if you’re paying paul
But its easy easy everything’s gonna get really freaky
Alright on the night
Soon it ll be be a memory you’re trying to remember to forget

That’s a pretty mask
But never take a chance tik tok stupid dance
Took a samba class i landed on my ass
Trying to write a tune you better hook me up to zoom
See my poncey books teach myself to cook
Way too much tv its lobotomising me
Think ive put on weight
Ill have another drink then ill clean the kitchen sink

We escaped from the prison walls
Open the windows and open the doors
But its easy easy
Everything s gonna get really freaky
Alright on the night
Its gonna be a garden of earthly delights
Easy sleazy its gonna be smooth and greasy
Yeah easy believe me
Itll only be a memory you’re trying to remember
To forget

Shooting the vaccine bill gates is in my bloodstream
Its mind control
The earth is flat and cold its never warming up
The arctics turned to slush
The second comings late
There’s aliens in the deep state

We’ll escape from these prison walls
Now were out of these prison walls
You gotta pay peter if you’re robbing paul
But its easy easy everything s gonna be really freaky
Alright on the night
Were all headed back to paradise
Yeah easy believe me
It’ll be a memory you’re trying to remember to forget
Easy cheesy everyone sing please please me
It’ll be a memory you’re trying to remember to forget

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Harvard’s Digital Giza Project Lets You Access the Largest Online Archive on the Egyptian Pyramids (Including a 3D Giza Tour)

Nothing excites the imagination of young history-and-science-minded kids like the Egyptian pyramids, which is maybe why so many people grow up into amateur Egyptologists with very strong opinions about the pyramids. For such people, access to the highest quality information seems critical for their online debates. For professional academics and serious students of ancient Egypt such access is critical to doing their work properly. All lovers and students of ancient Egypt will find what they need, freely available, at Harvard University’s Digital Giza Project.

“Children and specialized scholars alike may study the material culture of this ancient civilization from afar,” Harvard’s Metalab writes, “often with greater access than could be achieved in person.” The project opened at Harvard in 2011 after spending its first eleven years at the Museum of Fine Arts, Boston with the goal of “digitizing and posting for free online all of the archaeological documentation from the Harvard University—Boston Museum of Fine Arts Expedition to Giza, Egypt (about 1904–1947),” notes the about page.

The Digital Giza Project was born from a need to centralize research and artifacts that have been scattered all over the globe. “Documents and images are held in faraway archives,” the Harvard Gazette points out, “artifacts and other relics of ancient Egypt have been dispersed, stolen, or destroyed, and tombs and monuments have been dismantled, weather-worn, or locked away behind passages filled in when an excavation closes.” Other obstacles to research include the expense of travel and, more recently, the impossibility of visiting far-off sites.

Expanding far beyond the scope of the original expeditions, the project has partnered with “many other institutions around the world with Giza-related collections” to compile its searchable library of downloadable PDF books and journal articles. Kids, adult enthusiasts, and specialists will all appreciate Giza 3D, a reconstruction with guided tours of all the major archeological sites at the pyramids, from tombs to temples to the Great Sphinx, as well as links to images and archeological details about each of the various finds within.

For a preview of the multimedia experience on offer at the Digital Giza Project, see the videos here from project’s YouTube channel. Each short video provides a wealth of information; young learners and those just getting started in their Egyptology studies can find lessons, glossaries, an overview of the people and places of Giza, and more at the Giza @ School page. Whatever your age, occupation, or level of commitment, if you’re interested in learning more about the pyramids at Giza, you need to bookmark Digital Giza. Start here.

Related Content: 

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

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Original Colors Still In It

What Ancient Egyptian Sounded Like & How We Know It

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

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