Wednesday, August 31, 2011

Vishnu: Hinduism's Blue-Skinned Savior


Krishna Fluting for the Gopis, page from an illustrated Dashavatara series. Northern India (Punjab Hills, Mankot), circa 1730. Courtesy of Brooklyn Museum. 


Vishnu is the Hindi god most often known as the creator of the cosmos and the preserver of Planet Earth. Considered one of the most multi-faceted of all Hindi gods, and one of three deities with the largest number of sectarian followers, he is widely recognized and admired. 

An art exhibit devoted solely to Vishnu and his worshippers, the first major museum exhibition of its kind, is currently on display at the Brooklyn Museum. It features over 170 paintings, sculptures and ritual objects made in India, Pakistan and Bangladesh between the fourth and twentieth centuries. Very detailed, well-organized and well-researched, it offers an informative and fascinating glimpse into the history and culture of this deity. 

Vishnu Flanked by His Personified Attributes. Northern or central
India, 12th century. Courtesy of Brooklyn Museum


In Hindi paintings Vishnu is easily identifiable because of his blue skin. According to the exhibit, "the blue distinguishes [him] from mere humans, and it reflects the God's association with the vast expanses of sea and sky as well as his usually cool, tranquil approach to saving the world." When he does not have blue skin, such as in granite or stone sculptures, you can identify him through his clothing and four different emblems- the wheel, the conch shell, the mace and the lotus. 

The lotus was the most influential emblem to me. As I said before, the exhibit is very detailed in its information on the deity, his followers and believers. A beautiful quote about Vishnu's lotus said that believers seek to emulate these flowers, because they "rise up from humble beginnings in murky ponds to achieve beauty in a higher realm." 

The exhibit is organized by four themes: Images of Vishnu, Legends of Vishnu, Avatars of Vishnu, and Worshipping Vishnu. Images of Vishnu focuses largely on sculptural art either within temples or on outside temple walls. Legends of Vishnu is much more painting-oriented in displaying images and artwork that tell stories about the god. Avatars of Vishnu offers a detailed look at each one of Vishnu's mortal forms (avatars) used when the god descends to earth  to solve a serious problem or fight a demon. Worshipping Vishnu, the most different of all the themes, displays images of Vishnu's devotees, where these devotees pray, and select objects used in prayer to Vishnu

Varaha Rescuing the Earth, page from an illustrated Dashavatara series. India, circa 1730–40. Courtesy of Brooklyn Museum. 
While all the art forms were beautiful and richly detailed, my favorite was the paintings with their bright colors. The bold hues popped off the wall and kept your eye focused on their intricate designs. To me they were so attractive and striking with their red, blue and yellow tones that I didn't want to look at anything else. In fact it was the painted images that attracted to me to the exhibit in the first place, and I'm so glad I went. 

The show is on display until October 2, and the Brooklyn Museum offers suggested admission, so it's essentially free. Unfortunately you cant take photos though, so if you want any memories of this wonderful collection you will have to look at them on the museum's website. I recommend doing so.

Tuesday, August 30, 2011

Media Mania: Hurricane Irene in NYC

I wanted to write about this earlier but my sister and nephew were in town visiting until last night (my sister tends to bring disaster with her- this time it was a hurricane). We rode out the weekend storm together and were lucky it wasn't worse here in New York City. But given how the news media and public figures reported it, the city and our vacation were doomed from the get-go.

Luckily we didn't take the reports too seriously and panic. I don't think very many people in the city did. And now that the storm is over and the city has not crumbled from wind and flood damage, everybody is assessing the media hype that predicted that drastic aftermath.

Yes, over a dozen people died and millions are without power, and there was some heavy flooding and downed trees. But Irene was no Katrina. Was it really necessary to shut the subway system down, order evacuations and warn people "if you haven't left you should leave now. Not later this evening, not this afternoon, immediately." (Mayor Bloomberg)?

Even throughout the day on Sunday when it became apparent that Irene would not be so bad, especially in New York City, news outlets continued to play it up. Most memorable was the Huffington Post, whose headline read in big bold letters "Hurricane Irene Slams New York."

Irene did not slam New York. There was some serious flooding and power loss upstate, but throughout most of the storm New Yorkers continued going about their business as best they could. As reporters and bloggers were tweeting about the imminent emergency barreling our way, I could still see people walking their dogs and going jogging down the street. Those people did not die and were not blown away. They were fine.

It's always better to think ahead and plan for the worst in instances of natural disasters, but what happened with Irene was over the top. It was an important story that deserved serious coverage and warning, but the media got our country worked into a worrisome frenzy for a storm that in the end did not merit it.

Was it for the ratings? That, among other factors, are at the center of the "hurricane hype" debate. It's been a popular topic since about Sunday afternoon, when the news and weather channels finally stopped pushing back Irene's arrival time and people starting admitting it was a dud. I think it was partly for the ratings, partly a result of over-cautiousness from politicians. No one wants what happened in New Orleans, and no one wants to seem unprepared on national television.

The debate will continue for perhaps a few more days, before splintering off into new and more sensationalist stories. As Gawker said on Sunday, "Tomorrow's commutes will be rough tomorrow, but in 10 years, how much will any of us even remember 'where we were' when Irene struck?"








Thursday, August 25, 2011

La Bergamote

Bakery display case

La Bergamote is a French patisserie located in Chelsea (9th Ave. on the corner of 20th). I wanted to feature it in this blog because not only do I love their pastries and coffee, but also because it makes me reminisce of my time in France.

This shop has been around for many years and used to be a hangout of Ira Glass (still is?). They have a wide variety of pastries, truffles and sweet breads along with delicious coffee. My favorite is always the lemon tart (or in French: tarte de la citron), but I need to make a habit of being more adventuresome and trying the others. All available desserts are behind a curved glass display case, leaving your mouth watering and you decision difficult.

In fact La Bergamote has been in Chelsea since 1998, when chefs Stephane Willemin (Executive Pastry Chef) and Romain Lamaze (Managing Director) decided to collaborate on the business together. Originally located across the street, they reopened in their new location during the Fall of last year.



Their new location appears to have more space, leaving room for more sit-in customers. A popular staple of the neighborhood, the business has done so well that the owners also recently opened a second location, more of a restaurant than a café, over in Midtown West. It is still on my list of new things to try.

If you are looking for French bakeries in New York City, this is the one to go to. The atmosphere is calm and relaxing, and there's nothing you won't like. You can sit at a small table in front of the vintage murals on the back wall, or in front of the windows if you're more inclined to people watching. Stay as long as you like, have a sip of coffee, a bite of dessert and enjoy a book or the company of a friend. I guarantee you will want to come back.

Monday, August 22, 2011

East Village, NYC

As beautiful as Besançon was, it just doesn't have the eye-popping color and creativity displayed on architecture in the East Village, where I live currently. Check out these beauties!

Friday, August 19, 2011

Besançon in Manual Mode

During the 2009-2010 school year I studied abroad as an independent exchange student in Besançon, France. Besançon is about 2 1/2 hours southeast of Paris by the Switzerland border, and has existed as a city for over 2,000 years. Located on the Doubs river, it served as a major trading post during the Gallo-Roman era. It is also the hometown of Victor Hugo.
Besançon is a very small and relaxing city. It also makes for perfect black-and-white manual photos, which I love to shoot. Here is a collection of photos shot in Besançon with my Pentax K1000.


Tuesday, August 16, 2011

Arlekino Troupe's Carnevale!

Mira Stroika



Sunday night I went to a performance fundraiser for the Arlekino Theater Troupe, a non-profit theater, art, music and dance program for children ages 2 through 7 from families from the Former Soviet Union

The show was advertised and marketed as a grand Carnevale!, featuring circus and sideshow-like performances at the Galapagos Art Space in Brooklyn. It raised money through ticket sales and with the help of volunteer performers, caterers, and artists. The Galapagos Art Space also donated their venue for the evening.

I attended the event for free as a reviewer for Socially Superlative, but if I had paid the $20 ticket fee I think I would have been disappointed. The show had some good acts and a friendly crew, but there were several problems that left it a little underwhelming.

The Galapagos Art Space is located on Main Street in Brooklyn. I had never been to this neighborhood before, and after getting a little lost I rushed to the venue in order to make the 7 p.m. starting time. 
All the ads said the show started at 7. It did not start until 7:45. After 50 minutes of performance, there was another 40-minute break. Fifty minutes after that, there was still a third 20-minute break before the final stretch of the performance reached the stage.
Needless to say all these “breaks” made the audience very restless, including myself. Sitting alone in a dark Russian-style lounge bar with red lights and jazz music, waiting aimlessly for the show to continue, is not very fun. Especially when the "waiting" comprises half of the whole show. It would have all been better if there was only one break, 20 to 30 min. tops. 
The other major hiccup was difficulty with audio and video. The show began with a video montage of the theater troupe’s program and work with children. Unfortunately the video had difficulty running, and it got the (already behind-schedule) show off to a faulty start. 
These issues could have been improved and would have made the show much better. That said however, there were some performances throughout the evening that made it more enjoyable.  
Valeria Entertainment- photo by Marina Vykhodtseva
The most notable acts were the Valeria Entertainment belly dancing, the Jazz Kompot band, and cabaret singer Mira Stroika.
Valeria Entertainment


Representing Valeria Entertainment was a performance of three belly dancers dancing beautifully to Arabic music. The performance was colorful, energetic, and fun. The women proved to be great belly dancers with a strong sense of rhythm and knowledge of performing for a large audience. Their flexibility and hip-moving skills are envious. 
Jazz Kompot is a skilled jazz band with strong vocals and instrumentals. They put you in a great 1940s-lounge mood.
Jazz Kompot- photo by Alex Torres
Cabaret singer Mira Stroika was the best performance of the evening. No one captured the audience’s energy and attention like she did with both her enthusiasm and talent. Her loud, powerful voice has such a soul that it filled the whole venue, and everyone was pulled into her songs.
Mira Stroika cabaret- photo by Alex Torres
Unfortunately Stroika was one of the last performers of the evening, and many in the audience had left by the time she came on stage (they were probably tired of all the waiting too). The rainy evening did not help the situation, but I wonder if Stroika’s performance earlier would have enticed people to stay for the whole show.
According to Arlekino’s co-founder Jane Tuv, the show had great ticket sales, for which I’m sure they are very thankful. The evening had some big setbacks, but at least it raised money for a good cause and ended up introducing me to some new and talented performers. And for that, I am thankful.

Some Further Carnevale! Information:
Co-producers: Jane Tuv, Founder of Arlekino Theater Troupe, and Maksim Brenner, founder of Brenner Media Labs
Caterer: Elena Tedeschi Catering
Videography: Brenner Media Labs

 * Note: some of this article also appeared in my Socially Superlative article. 

Friday, August 12, 2011

London Riots and the Battle (or Hypocrisy) over Social Media



While riots in London and throughout the UK appear to have calmed down, an interesting remark by Prime Minister David Cameron yesterday set off a bit of a firestorm.

Speaking before an emergency session in parliament on Thursday, Cameron called for the censorship of social media due to its organizing force in the violence and chaos.

"Everyone watching these horrific actions will be struck by how they were organized via social media. Free flow of information can be used for good. But it can also be used for ill," Cameron said. "And when people are using social media for violence, we need to stop them."

Hmmm, sound familiar? The same arguments were used by leaders in the Arab world this Spring as demonstrators sought to topple their governments and organize revolutions on Facebook, YouTube and Twitter.

Some (emphasis some) comparisons can be made in the youth unrest and alienation represented by the London mobs and protests in the Middle East, yet Cameron expressly supported the use of social media in those other countries' revolts.

In a speech in Kuwait in February, as reported by an Aug. 11 New York Times blog post, Cameron said "It belongs to a new generation for whom technology- the Internet and social media- is a powerful tool in the hands of citizens, not a means of repression. It belongs to the people who've had enough of corruption, of having to make do with what they're given, of having to settle for second best."

It's interesting how the tables are turned once the social media-organized riots are occurring in your own backyard. As the United States Supreme Court ruled in Brandenburg v. Ohio, I do not believe free speech extends to words and messages meant to incite immediate violence against people or property (which is already illegal in Britain as well). But apart from that it is not appropriate to censor social media use across a nation, even if that use leads to intended chaos and unrest.

It appears Cameron does not agree. With the riots calming down social media censorship is probably on the back burner now, but the fact that a developed, Western country even considered implementing such restrictions is both ironic and a little frightening.



Some well-done commentary by Peter Oborne of the The Telegraph: 
The Moral Decay of Our Society is as Bad at the Top as the Bottom


Thursday, August 11, 2011

Jill Biden and the Art of Attracting Publicity for Third World Causes

The Telegraph UK, August 8: "US vice-president's wife Jill Biden arrives at famine zone with two planes, a 29 car convoy and CNN"

Photograph courtesy of The Telegraph

The Telegraph newspaper in the UK had an eye-opening article about three days ago, detailing Vice President Joe Biden's wife Jill and her trip to Somalia, trying to increase US publicity on the famine there. While maintaining an objective tone throughout the piece, the article did a good job of pointing out some of the ironies in the situation. 

"Watching the wife of the US vice-president touring the world's biggest refugee camp for famine-hit Somalis was a scrum of television cameramen, international reporters and Washington Staffers thumbing their Blackberrys.... 
"Parked off to the side, waiting to whisk the visitors back to the airport, was a convoy of 29 polished vehicles, including armoured US embassy Land Cruisers driven the eight hours up from Nairobi the day before."

I was struck by the mental image: Protective guards and 29 SUVs, dozens of Blackberrys and video cameras all clamoring around this aid camp full of refugees dying of hunger and thirst. 

"All this is a necessary evil," said one senior aid worker quoted by the paper.

But is it really? While it appears the U.S. media is finally starting to give this humanitarian disaster the coverage it deserves, I don't necessarily think it had anything to do with Jill Biden's publicity trip. An ABC spokesman said on Aug. 5 that the story was overshadowed until now by the debt debate in Washington. 

As networks are devoting more time and energy to the famine, considered one of the worst humanitarian disasters in decades, it appears most reports mention Biden's visit only in passing. In fact according to The New York Times' blog article Networks Step Up Coverage in Famine Zones by Brian Stelter, news networks are now bickering over who started paying attention to the crisis first. 

From the Times blog: "When Mr. (David) Muir came back to the United States last week, he reminded viewers on “World News” that ABC had been “the first network to report from Kenya,” and he described an “overwhelming” response. 
"Implicitly rebuffing ABC, NBC said in a news release last week that it had paid “careful attention” to the crisis, citing reports by Rohit Kachroo, a reporter who is jointly employed in Africa by NBC and the British network ITV."

Give me a break. What is most important in all this is the awareness given to the American public about the dire situation and how people can help- it is not making sure your network gets proper credit for spreading said awareness. 

And this is where I believe Biden's intentions were honorable- at least she was trying to use her celebrity to bring deserved attention to the crisis. 

The question is whether she did so in the most proper and efficient manner. 

 Think about the preparation involved, and the energy wasted, and the security details needed to carry out this trip. As the Telegraph article accurately pointed out, the trip appeared to be just another strain on the already over-stretched aid workers, who had to spend two whole days preparing for the visit. 

"Advance teams of special forces troops and secret service agents demanded full dress rehearsals and extended security sweeps.... Refugees at the reception centre, including Fatuma Adem, the mother of four children filmed talking with Mrs. Biden, were readied in advance." 

Considering this area of Somalia is controlled by violent extremists, I am not denouncing the need for such security measures. But maybe Mrs. Biden should have looked at all this and thought- "there is a better way to raise awareness, and a better way to help these people." 

Without the circus. 










Tuesday, August 9, 2011

Rude and Reckless: Punk/Post-Punk Graphics, 1976-82







The Steven Kasher Gallery in Chelsea has an interesting new (and free) exhibit called Rude and Reckless: Punk/Post-Punk Graphics, 1976-82

The exhibit was profiled in Vogue (which I discovered after I went to see it- I must have good taste!) with a very favorable review. 



 Malcolm Garrett & Linder Sterling
Buzzcocks, Orgasm Addict, 1977 


Taken from the private collection of Andrew Krivine, the show features more than 200 posters, flyers, clothing pieces, buttons, and other Punk/Post-Punk memorabilia from 1976 to 1982. It is the first exhibit in New York focused solely on Punk and Post-Punk graphic design, coinciding with the 35th anniversary of the birth of Punk Rock (i.e. the release of the first Ramones album and the Anarchy in the U.K. Tour). 

Jamie Reid & John Varnom
Sex Pistols, Never Mind the Bollocks, 1977 


According to the gallery, "Rude and Reckless documents an era that produced a great burst of applied graphic-design creativity, one of the most subversive of the 20th century. Vivid, violent, and frequently acid-tongued, the works in Rude and Reckless represent one of the truly authentic DIY youth culture movements in the Western World." 

 Anonymous
Killing Joke, Wardance & Psyche, 1980 


Vivid, violent and acid-tongued are great words to describe the presentation. Not entirely familiar with the Punk and Post-Punk movements, yet  very curious, I was quite shocked at some of the images and words displayed on the gallery walls. Looking at the cultural icons and graphics coming out of the 1960s, 70s and 80s - decades preceded by inventions like the suburbs, Leave It To Beaver and Andy Griffith - you really get a good picture of just how revolutionary this artwork was. 





The exhibition featured images from both British and American artists of the time period, with artistic influences such as "Bauhaus, Futurism, Dadaism, Pop Art, Constructivism, and Expressionism." A wide array of artists, colors, styles and representations, it is easy to appreciate the genius behind the counterculture imagery: designed to invoke chaotic feelings and challenge social limits to the extreme. 
Irvine spent over 30 years collecting the articles now on display, but in the gallery's exhibition catalogue you will see each one marked with a selling price. No less expensive than any other professional artwork, it costs a hefty price to take any of the items home. 

 Anonymous
Teenage Jesus & the Jerks, 1978 


Personally I think the items look better together anyway. The gallery did a great job organizing and designing the display, and this exhibit offers a unique and fascinating look into the broader reaches of the 1970s counterculture movement- specifically the importance of graphic design in the movement's search for influence. A great show. 



* Rude and Reckless will be on display until August 19, 2011






Sunday, August 7, 2011

Alexander McQueen: Savage Beauty Comes to an End

Photo Courtesy of Metropolitan Museum of Art


The Alexander McQueen: Savage Beauty exhibit at the Metropolitan Museum of Art has been the talk of New York City all summer. If you live in New York but don't know what I'm talking about, you must a) have been sleeping, or b) have no social life.

Today is the final day of the exhibit, and for the first time ever the Met extended its hours this weekend until midnight. Open since May 4 and extended twice due to the high volume of visitors and interest, this show is on track to be one of the most successful exhibits the Met has ever produced.

Photo courtesy of Metropolitan Museum of Art

It shattered the Met's attendance records for a fashion exhibit last week, and if you journey up Fifth Ave. this afternoon I can guarantee you the museum's entrance line is snaking around the block. That's not the line to see the exhibit, that's the line just to get into the museum. On Friday the entrance and exhibit wait times together were over four or five hours. I imagine they are more than that today.

Alexander McQueen was a renowned British fashion designer who committed suicide last year at the age of 40. Known for his highly provocative clothing designs and avant-garde fashion shows, he pushed the limits of your imagination and created pieces that were both frightening and awe-inspiring.

Photo courtesy of Metropolitan Museum of Art

Often using unconventional materials, some of his designs are made of feathers, razor clam shells, simulated human hair, and vulture skulls. Videos of his fashion shows display models playing on a human chess board or acting as if they are patients in an insane asylum.

Photo courtesy of Metropolitan Museum of Art


The Met exhibit of his work features 100 ensembles and 70 accessories. Attendees say it inspires curiosity and creativity while at the same invoking fear and horror. Such mixed, strong emotions paired with high publicity means the show has attracted people from all over the country and the world.

For a long time the museum advertised that members had the privilege of bypassing the line and entering the exhibit directly. As a result the (expensive) membership applications skyrocketed. Unfortunately for the final weekend this privilege was revoked, prompting angry outbursts such as "But that was the only reason we bought a membership!!!"

Photo courtesy of Metropolitan Museum of Art

In fact by Saturday afternoon the museum was no longer accepting new membership applications, due to the overwhelming volume of requests. A lot of people are kicking themselves for waiting until the last minute to see this exhibit. While I normally procrastinate as well, I got lucky this time around and saw it several weeks ago.

The show was truly what all the reviews have said it was. Startling, eye-opening, inspiring, frightening, and wonderful. It deserved all the praise it received and was worth all the money it raised for the Met. I wish I could have seen it one more time, but I suppose I will have to settle with the pictures from now on.

Photo courtesy of Metropolitan Museum of Art

*Update 8 August: The Met announced today that the McQueen exhibit was the eighth most-visited show in The Met's 141-year history. A total of 661, 509 people visited the show, and the museum's membership increased by 23,000. 

Wednesday, August 3, 2011

Travel Story: The Pyramid of Meidum

 











We had heard about the lost pyramid of Meidum, the disastrous and forgotten precursor to the Great Pyramid of Giza lying hidden in the Egyptian desert.

We wanted to see the failure.

After traveling for over two hours in rural Egypt on a journey that was only supposed to take one, we began to realize just how big of a “failure” the pyramid of Meidum really was.

Meidum was the last stop on a day dedicated to seeing all the pyramid sights on our list, and we never anticipated it would take so long to get there, nor that it would be so difficult to find. We were lucky to have such a loyal and perseverant cab driver.

My brother Terrence, his friend Lisa and I had been chauffeured all day long around Cairo and its surrounding pyramids beginning at 6 a.m. that morning, enlisting the services of a local taxi driver we met the day before.

We spent the early morning wandering the wonders at Giza- its pyramids, temples and sphinx whose construction by an African civilization 4,500 years ago is still hard to explain. We also spent the morning trying to avoid the hordes of tourists as they inevitably descended upon the desert monuments.

While once a beautifully isolated World Wonder, the Great Pyramid’s doorstep is now encroached by Cairo’s expanding urbanism and its estimated 18 million people- along with the tourists that such urban proximity often brings.

With these numbers, Cairo was hot, crowded and dusty. Avoiding the onslaught of gigantic tour groups and men on camels looking for paid photo-ops left us overheated and overwhelmed. Our legs ached and our lungs choked on smog.   

 It was the idea of escaping this urbanism for a short while that attracted us to the rural and relatively unknown Meidum. We were looking for an adventure, but little did we know the pyramid’s history would be so relevant to current Egyptian events.   

By noon we were anxious to leave the city. Meidum is about 100 km south of Cairo however, so we saved it for last, given our uncertainty at how long it would take to get there.

That was a really lucky decision. The trip took us between four and five hours.

Following Giza and the equally crowded pyramids at Saqqara, we departed Cairo around 2 p.m., leaving the gasoline-soaked air, the traffic-jammed highways and the city with one of the largest population densities in the world- more than 50,000 per square km.- behind. We went searching for the failed test model of Egypt’s engineering superstructures.

Lisa read the story in her Lonely Planet guidebook. Known as the “first true pyramid,” Meidum was built under the reign of Pharaoh Sneferu (2613-2589 B.C.) who originally commissioned it as a step pyramid, but later ordered his workers to pack the steps with stones and encase the entire structure in limestone, giving it the smooth sides we see today at Giza.

Engineering flaws led to the limestone shell’s collapse at an unknown date. Left among its rubble, all that remains standing is the pyramid’s inner core. Many researchers believe the project collapsed during construction, subsequently abandoned only to teach the pharaoh’s architects how to build more successful, stable structures like the Bent and Red Pyramid at Dahshur. Eventually these pyramids would serve as models, and lessons, for the Great Pyramid of Giza, one of the Seven Wonders of the Ancient World.

But the Bent, Red and Giza pyramids were all successes. We wanted to see the failure that inspired them.

Our little black and white cab sped down the open road as the scenery began to look more and more like the arid, empty desert that is rural Egypt. The taxi did not have air conditioning, considered a luxury in this developing country, so we rolled down our windows and let the breeze whirl through the interior. Everything was quiet except for our voices attempting to make small talk with our driver. “Do you live in Cairo? Are you married? How many children do you have? Have you ever been to Meidum?” His English was minimal, so we kept our questions simple.

The drive was peaceful, unlike the constant noise and smog and claustrophobia of Cairo. We thought we were making good time and our map would easily lead the way once we were a little closer to the pyramid’s site. We were wrong.

About an hour into the road trip our car approached a little village. The lack of road signs left our map difficult to decipher, and our driver stopped to ask the locals for directions. I couldn’t help but notice the lack of infrastructure in our location. The roads were no more than dirt paths, mud-brick houses were crumbling and villagers appeared to be washing themselves in river water polluted by sewage. Egypt has the second largest economy in the Arab world, but you would think it had the smallest given the quality of life of the majority of its population.

Despite the numerous amounts of people living in this community, not a single one could tell us exactly where to find Meidum. In fact, they all gave us different directions.

We stopped well over four times, backtracking our direction at least twice. After two hours on the road we began to feel hopelessly lost, and the possibility we would not find our destination made the journey feel more like a failure than the pyramid. Leaving behind the village to again peruse the desert wasteland, we considering giving up and attempting to make our way back to Cairo.

We stopped by one last lonely farmer driving his donkey along the path, truly isolated on his journey home. He pointed just a little ways down the road, muttering something in Arabic. As we continued, the desert landscape faded into something more lush: tall reed grass and palm trees.


And there it was. Just a mile or two to our right, beyond the grass and once more planted upon a bed of desert sand like Giza, stood the pyramid we had been searching for. The beauty and isolation of such a forgotten monument made the hours wasted in the hot leather cab all worth it. The original limestone casing fallen around the core looked like a mound of desert Jell-O, and the inner structure towered high above us, revealing three large steps rising 213 feet.

The sand-swept and windblown mass had clearly been left to the elements. Rejected and uncared for, it appeared the structure was eroding in the breeze, and we could taste the blowing dirt and dust.

It was incredible to imagine how such enormous blocks and large sheaths of stone could be transported and raised and worked, and to imagine what a disappointment the failure of this work must have been. In commissioning such an edifice Sneferu envisioned nothing but grandeur, and I wondered how he would feel knowing his name is still attached to this dilapidated sandcastle. No wonder it’s in the middle of nowhere, I thought.

            Our taxi pulled up to the guards standing in front of us, and not a single other person was in sight. Our driver bargained with them to allow us inside. “I believe he just said: they’re Americans and they can pay, let them in,” my brother quipped. We gave him baksheesh and thanked him for his troubles. “Shukran.”

The climb up the surrounding rubble was strenuous, as well as the stairs inside leading to the burial chamber. The stairway was like a long, dark mining tunnel only big enough for you to crouch your way through. It opened up into a very small room in the center of the pyramid, where the sarcophagus was typically laid to rest.

But nobody was ever actually buried in the Meidum pyramid, and the two stelae inside remain unmarked, furthering the idea that it was abandoned mid-construction. No pharaoh would ever put their inscription on this failure, for fear it would be their legacy.

            Our stay inside the pyramid was short and rushed, as by that time it was nearing dusk and the guards weren’t interested in sticking around. About 20 minutes after our arrival, we were already on our way back to the city, leaving the failure alone among its ruins.

           Just a little less than a year after we left Egypt, the country erupted into the biggest protests of the country’s history, forcing the 30-year dictator Hosni Mubarak to flee to a seaside resort and abdicate all power.

             Mubarak was one of three oppressive dictators that have plagued Egypt over the 59 years it has existed as an independent republic. These dictators left the country’s infrastructure, and a majority of its population, suffering like the collapsed outer shell once designed to make Meidum so glorious.

Sneferu’s architects learned from their mistakes, and did not repeat them. Now, watching recent events in Egypt unfold on Al Jazeera, my mind keeps going back to the original failed experiment, nearly 5,000 years ago, which paved the way for one of the Seven Wonders of the Ancient World.

         With Egypt’s newest failure so close behind, the lessons learned are uncertain. But if current events are anything like the past, Mubarak could very well be Egypt’s 21st-century Meidum, a model for future triumph.