Chicago’s Field Museum Unveils Brilliant Reconstruction Of Lascaux Prehistoric Cave


The Field Museum in Chicago is the first venue in North America to host an impressive 3D reconstruction of the famous prehistoric cave paintings of Lascaux, France.

“Scenes from the Stone Age: The Cave Paintings of Lascaux” showcases the best-ever full-sized replica of the paintings, including many never before seen by the public. Visitors will feel like they’re in the cave itself as they enter into a tunnel that has the same paintings and relief as the original. The works are lit by simulated oil lamps and torches to replicate what they would have looked like to the Paleolithic artists who made them some 15,000-20,000 years ago.

Lascaux contains hundreds of images of animals, geometric shapes and an enigmatic human figure with a birdlike head. The artists used the natural contours of the stone to give the figures a 3D effect and the illusion of movement.

Also on display are period artifacts and a reconstruction of a Stone Age family, with descriptions of their surprisingly advanced culture.

The original cave was closed to the public in 1963 in order to preserve the fragile paintings, which were already beginning to show wear due to the changes in temperature, humidity and a rise in carbon dioxide due to more than a million visitors entering the cave. Now experts are trying to remove a growth of fungus, bacteria and algae that threaten the paintings.

“Scenes from the Stone Age: The Cave Paintings of Lascaux” runs from March 20 to September 8.

[Photo courtesy Wikimedia Commons]

The Historic Homes Where Jimi Hendrix And George Frideric Handel Were Neighbors (250 Years Apart)


When walking in London, keep an eye out for the Blue Plaques. These historic markers will tell you where famous people once lived, and occasionally make for strange combinations.

One blue plaque at 23 Brook Street in the exclusive Mayfair neighborhood tells how Jimi Hendrix lived there from 1968-1969. Next door at number 25 is another Blue Plaque, this time for Classical composer George Frideric Handel, who lived in the house from 1723 until his death in 1759. Sadly, there’s no record of what Jimi thought about living so close to an earlier and slightly different composer.

The upper stories of these two homes are now the Handel House Museum, which, as the name implies, is dedicated to Handel and not Hendrix. The house has been refurnished with period furniture and paintings and contains a collection of Handel’s personal items. The museum hosts many special events and concerts throughout the year, including weekly recitals. My wife is a big Classical music fan and taking her here to listen to a string quartet is something she still talks about years later.

One disappointment was not being able to see where Jimi Hendrix stayed. He loved London and loved his place, calling it his first real home of his own. At that time he had no neighbors and so he could practice his music as loudly as he wanted.

When the Handel House Museum opened in 2001, his apartment was restored to look like it had when he lived there, minus the large amount of drugs scattered about. Sadly, the apartment is now used as museum’s administrative offices and isn’t generally shown to the public.

[Photo courtesy David Holt]

Travel Through The World of Music At Phoenix’s Musical Instrument Museum

My expectations weren’t very high when I visited Phoenix’s Musical Instrument Museum (MIM). I imagined a small collection of dusty drums and pan flutes along with a guitar or two donated by famous musicians. Boy, was I ever mistaken.

The MIM is actually a mammoth museum whose collection and quality rival that of a Smithsonian Institution. Founded by Robert J. Ulrich, the former CEO and chairman of Target Corporation, the museum’s mission is to represent the musical instruments of every country in the world-and Ulrich apparently had enough dough to not only send curators around the globe to collect more than 15,000 instruments, but to also document the traditions and history that surround them via videos.

Galleries, which are organized into geographical regions, take visitors all over the world to learn about that magic of music. Instruments include the 40-stringed zither, a xylophone from the Philippines called the gabbing, a 12-foot-tall octobass (a string instrument that takes two people to play), a gamelan orchestra from Indonesia (pictured at the top) and a collection of strange-looking harmonicas. Also on display are costumes traditionally associated with the music, including a whirling dervish outfit from Turkey and a dragon dance costume from China.

There’s also a mechanical music gallery with instruments that “play themselves,” including player pianos, tiny mechanical birds and other automated instruments that use barrels, cylinders, discs and other technologies to operate. And then there’s the artist gallery, a shrine to music legends such as Elvis Presley, Dick Dale, Carlos Santana and Taylor Swift, where you’ll also find the piano John Lennon used to compose “Imagine.”

But it’s not only the collection that is impressive. It’s also the technology available to each guest via a special audio guide. Instead of a run-of-the-mill guide that forces guests to follow along on a cookie cutter tour, MIM’s guide synchs up with whatever display you’re standing in front of. This allows you to choose to browse things you find interesting, and also ensures that your experience doesn’t bother those around you (if you take your headphones off you’ll notice everyone is essentially walking around a the museum in complete silence).

Before you leave, be sure to stop in the experience gallery, where you can test your chops by strumming and banging instruments from all corners of the world, including a Burmese harp and Chinese gongs. And in the event you can’t make it to Phoenix but just want to learn more about world music, check out MIM’s YouTube page, where you can hear and see many of these instruments being played.

[Photo credit: Annie Shustrin]

Jamie Oliver Invites You To Visit Britain

Celebrity chef Jamie Oliver is fronting a new tourism campaign encouraging travelers to explore the diverse regions of Britain.

The cook – who is renowned for opening a string of successful restaurants and overhauling unhealthy school lunches in his country – says that between the miles of rugged coastline and vast expanses of countryside, Britain has something to offer everyone.

Not surprisingly, Oliver also waxes lyrical about the cuisine, claiming, “British food is some of the best in the world.”

Check out Jamie Oliver’s invitation below.



[Photo credit: Flick user really short]

Shaking The Disease

From August 1984 through the summer of 1985, I lived with my family in Saarland, in the southwestern corner of West Germany. A French protectorate in the years following the Second World War, Saarland was a strange place for a family’s sabbatical year. It felt more like a cul-de-sac on the edge of German-speaking Europe than it did the “heart of Europe,” the notion underlying its contemporary self-presentation. Back then, many of my classmates had never crossed the border into France, which was just two or three miles away. The border felt sealed, even though passport checks were perfunctory and even though French words enlivened local dialects.

Saarland was a good launching pad. The dollar was strong and my parents’ modest discretionary income went far. We jumped on trains, sometimes on consecutive weekends, to explore the surrounding regions and beyond.

In the summer of 1985, we made a particularly exciting journey to Karl-Marx-Stadt (earlier and now again Chemnitz) in East Germany to visit some cousins. My father had become strongly interested in genealogy over the previous decade, and his research had yielded friendships with a slew of West German relatives. We had gotten to know one distant cousin especially well, and he invited us to stay with his aunt and her family near Karl-Marx-Stadt.To visit them we first traveled across West Germany to the border with East Germany and then continued on through East Germany’s train corridor to West Berlin. There was a friction in West Berlin that I hadn’t seen in other European cities, a counterculture that seemed stable and permanent, rooted in its weirdness. We walked near the scary, modern Wall, and combed through the city’s sights.

After a few days in Berlin, we took the train south to Karl-Marx-Stadt. Shortly after we crossed into East Germany, four teenagers boarded the train. There was a flash of negativity about them, a subtle alienation. These teenagers were not like West German kids. They were quiet, first of all, and apparently shy, glancing uncomfortably at us. I couldn’t stop looking at them, drinking all their details in – their hair, their clothes, their attitudes. They were less in-your-face than their West German contemporaries but their defiance was unmistakable. One of them held a little transistor radio. He and I faced each other, our eyes meeting above the seats.

A few minutes in the radio began to play “Shake the disease” by Depeche Mode, which was a big hit that summer. We both started to mouth the words, still viewing each other tentatively. We sang the song silently, observing one another throughout. Along the way he lost his shyness. I was filled with a sense of wonder. Previously I’d considered how fractured we were from another, and now it seemed as if we understood each other very well. The bridge between our two adolescences was this song, bound up in Martin Gore’s strange pairings of words: “you know how hard it is for me to shake the disease / that takes hold of my tongue in situations like these.”

I recall many incidents from the rest of that visit. We met relatives. We witnessed a small wedding in a village church and my mother cried. We walked in the woods. We had difficulty changing money. We drove to a tourist restaurant in the forests near the border with Czechoslovakia. The one completely focused memory, however, was that experience on the train. For that song’s four minutes and 48 seconds, two 15-year-olds shared something. It was everything. It was nothing. It belonged to us.

[Image: Flickr | Hunter-Desportes]