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Graham Hancock is The Devil

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Dr. Jon Epstein
Department of Sociology and Criminal Justice
Greensboro College

graham hancock is the devil
graham hancock is the devil

As a sociology and criminal justice professor I have heard more than my fair share of conspiracy theories. This has always been true; the subject matter of my discipline often touches on issues that the more paranoid find appealing. But it has become routine since 9/11. I can now expect to hear about some type of conspiracy, cover-up, or otherwise nefarious activity at least several times a week, ranging from the ridiculous (The Reptilians, a race of humanoid reptiles who are the secret rulers of the Earth, spring immediately to mind) to the extremely unlikely (The “Government” is secretly watching you…an idea most often expressed to me by meth addicts) to the outright racist (The Islamic Center is actually a training camp for ISIS run by the Zionist Occupational Government who control the media to keep people stupid. Yes, I really had that conversation.). My experience with these topics has left me very skeptical, and my training as a sociologist provides me with the insight to understand why the overwhelming majority of these “theories” are simply incorrect. No matter how paranoid you are, it is very unlikely that anyone is plotting against you, at least on an institutional level. Recently, however, I discovered that sometimes, at least, it’s true.

I have had a good life, and I have been privileged to socialize, and in some cases strike up friendships, with many extraordinary people. Among them are writers who concern themselves with the origins of civilization, an area that I have had an interest in for most of my career and which I actively research. Two such writers, geologist Robert Schoch and author Graham Hancock, have expressed to me at different times that they believed that there was a concerted effort on the part of the mainstream archaeological establishment to discredit them. While I consider both men my friends, I really didn’t believe them. I didn’t have any doubt that both men had been subject to intense criticism, condemnation, and scrutiny from members of the archaeological community; that was, after all, a matter of public record. But the idea that they had been “blacklisted” struck me as a bit over the top and melodramatic.

In 2013 Hancock accepted my invitation to speak at Greensboro College and presented his preliminary research for what would become his book Magicians of The Gods. His talk was very well attended and stirred up a great deal of debate on campus, and we agreed that when the book was finished he would return to campus to provide an update. Magicians of the Gods is scheduled for an early November release, and as promised Hancock plans on returning to Greensboro on Nov. 23 to hold a free public lecture. To try to “up the ante,” my department suggested to him that instead of the usual question-and-answer period following his talk, we provide a more traditionally academic event by having a panel of academic experts from fields related to his work (archaeology, history, anthropology, the sciences) engage in a discussion of his work with him. It was our thinking that given the criticisms leveled at him by some academic professionals, finding participants who could expressly point out the issues his work presents and engage in a professional dialogue could be of significant value for both the participants and the community members in the audience. To his credit, Hancock enthusiastically supported – indeed, welcomed — the idea, but again he brought up his belief that there were forces at play in the academic community, and in archaeology specifically, that were intent on discrediting him, which might make finding a panel problematic.

Undaunted, I sent an email to a number of major professional archaeology associations, asking for recommendations of qualified individuals who might be interested in participating. I received about a dozen responses, all of which called Hancock a “fraud” and me a traitor for inviting him to speak. These responses that I received were both telling and disappointing and say a great deal about the lack of confidence and oddly dissonant elitism of archaeology as an academic discipline, not to mention the field’s apparent lack of confidence in the general public’s intellectual abilities to recognize the difference between truth and quackery. The most troubling response I received was from an elected chief executive of one of the largest and most influential associations of professional archaeologists in the United States, who was referred to me by another international professional association that shares overlapping memberships. Because their response was more or less identical to the others, with the exception that this one had been sent with the implied weight of “official authority” — and that exception is an important one — I thought I would let it speak for itself:

“I actually had never heard of Graham before — I had to look him up online. … He certainly is not known in my circles. Of course, anyone who makes sensational claims tends to get publicity — the more sensational the claims, the more publicity they get. … This sort of thing makes a mockery of archaeology, which is in fact a scientific endeavor. … You are free to educate your students in any way you see fit, but if you are presenting your friend as any sort of authority in archaeology, you are doing them and the discipline of archaeology a great disservice. … I have worked hard to become a professional archaeologist, and I therefore have enough respect for other disciplines to refrain from claiming expertise in them. I hope others would display similar respect for my discipline. …”**

The level of intellectual dishonesty embedded in this note is staggering. In more than 30 years as an academic and researcher I can honestly say I have never seen anything that approached the level of hubris it expresses. While it is clear that the writer is passionate in defending the discipline of archaeology, it is equally clear that what is at stake here, ultimately, is intellectual turf. However, if defending a paradigm makes treachery necessary, it may be a good time to do some soul searching.

graham hancock is the devil
graham hancock is the devil

One of the first things you learn in an undergraduate logic course is that ad hominem arguments are an obvious sign of intellectual deceit. It is simply not possible to make an informed, critical, and fair assessment of a writer’s entire body of work without ever having read a single word. Additionally, I do not allow my students to consider a perfunctory Google search to be an adequate way of critically considering any topic, let alone one that results in the kind of denigration expressed above, and it is absolutely inappropriate for an academic “scientist” to do so.

Hancock identifies himself as an investigative journalist who reports on prehistory. He has on numerous occasions tried to make clear that he is NOT an archaeologist or a scientist. He has done this in writing, in interviews, and on television. I can’t think of another writer who has gone to greater lengths to explain what it is that they are not. The actual truth of the matter is that the idea that Hancock fancies himself a scientist/archaeologist originated and continues to be perpetuated by archaeologists as a way to then discredit him and discount his work as “pseudoscience.”

The notion that archaeology is “in fact a scientific endeavor” is also not exactly “a fact.” The fact is that the most vocal opposition to the idea of archaeology as a science originates from within archaeology itself, from those who see the discipline as the clearinghouse for a number of interrelated activities, some more scientific than others, and with very little in the way of an overarching theoretical orientation. That is a HUGE problem for any discipline claiming to be a science.

I must admit, however, that I am troubled to discover that archaeology as an institution is being put at risk simply by asking a reporter to give a lecture. I had no idea that the foundations of the discipline were that tenuous. It is certainly a good thing that my discipline of sociology has a firmer grasp because I am subjected to the relentless yammering nonsense of self-proclaimed “experts” every single day of my life. The difference, of course, is that in the case of sociology what is being babbled about are living, breathing human beings; the discussion thus has a certain urgency and immediacy not present in archaeology. Unlike the archaeologists, however, we welcome the challenge and, rather than trying to silence those who may misspeak on our behalf, we provide them a forum, ask hard questions, and educate others in the process. These things, after all, are what science and public debate are for, aren’t they?

 *Hancock earned an honors degree in sociology from Durham University in the UK, where he studied with Stanley Cohen, author of the classic book in the sociology of deviance Folk Devils and Moral Panics. That book, interestingly, provides a very useful way in which to understand Hancock’s relationship to mainstream archaeology. In Cohen’s framework, and for archaeology, Graham Hancock IS the devil.

** I have removed any information from the original Email that could point to its author. I have no desire to engage in personal or professional attacks on anyone, as it is my opinion that the larger issue is with archaeology as a discipline, and not archaeologists as individuals.

On November 23rd, 2015 at 7:30pm,the Greensboro College Department of Sociology and Criminal Justice Presents: Graham Hancock: Magicians of the Gods. (Lecture/Panel Discussion). You can learn more about this event HERE.

 

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Colleges & Univ

Open Letter to Betsy DeVos regarding Historically Black Colleges and Universities and school choice

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by Kismet A. Loftin-Bell

Dear Ms. DeVos,

I had the opportunity to read the press release and the statements within it following your visit and meetings with the presidents and chancellors of Historically Black Colleges and Universities (HBCU). This letter is in response.

I am an indirect product of Historically Black Colleges and Universities (HBCU’s). I am the daughter and granddaughter of graduates of Historically Black Colleges and Universities. My parents both graduated from North Carolina Central University. My maternal grandmother attended North Carolina Central University for her undergraduate and graduate degrees. My paternal grandmother is a graduate of Bennett College. And I was born and raised and currently live in the state of North Carolina, which has the second largest number of HBCU’s in the nation.

The existence of Historically Black Colleges and Universities is a reflection of the lack of access and opportunity in education for blacks. The existence of Historically Black Colleges and Universities is not analogous to the school choice movement. The creation and existence of HBCU’s is because there was no alternative. They were not developed to provide a better choice. They were developed to provide a choice.

Therefore, to compare the creation and existence of HBCU’s to school choice is to ignore the history of education in the United States. It ignores the history of keeping blacks (slaves) from being educated. It ignores the history of private only schooling. It ignores the history of public schools shutting down to keep from educating blacks. It ignores the history of the farce of “separate but equal” schools. It ignores the need for the National Guard to help integrate schools. It ignores the hatred spewed at children for wanting a better education in integrated schools. It ignores the rationale for busing. And it continues to ignore the fact that school choice has restored school segregation and has left students of color and low income students in subpar buildings, with subpar or without the necessary resources, and with teachers with limited training and/or functional support.

Let’s not categorize HBCU’s under school choice. While it has evolved into a choice among many schools, let us not ignore or forget why HBCU’s exist in the first place. And let us not insult the early graduates of such schools by suggesting that they had a choice in education.

I welcome the opportunity to further discuss the history of education in the United States and to discuss real solutions to addressing the needs of education.

Sincerely,

Kismet A. Loftin-Bell

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FYI: UNCSA Film Student Wins National Editing Award

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FYI: UNCSA Film Student Wins National Editing Award

The following was provided for your information by UNCSA

A fourth-year Film student at the University of North Carolina School of the Arts (UNCSA) has won the 2017 Student Editing Competition sponsored by American Cinema Editors (ACE). Tommy Wakefield from Pisgah Forest, N.C. is the second consecutive winner from the UNCSA School of Filmmaking. Third-year Film student Kaitlyn Ali of Raleigh was also a finalist.

Wakefield and Ali
Wakefield and Ali

The ACE Eddie Awards were presented Jan. 27 at the Beverly Hilton Hotel in Los Angeles. Wakefield and Ali attended the ceremony, along with Michael Miller, assistant professor of film editing.

“Our film editing program is making a name for itself at American Cinema Editors,” said Film Dean Susan Ruskin. “Two years ago we had our first finalist, and last year we swept the awards, landing all three finalist spots. This year, Tommy and Kaitlyn have made us proud once again. I congratulate them and their faculty mentors.”

Students in the ACE competition are nominated by their universities and compete by editing the same set of video dailies, which are judged blindly by a panel of professional film editors. Three finalists are invited to be guests at the annual ACE Eddie Awards ceremony.

Wakefield is currently editing the fourth-year film SHADES HER, SHADES HIM. Last year, he edited AS LARGE AS ALONE.

Ali is working on the fourth-year film BLITZ. Last year she worked on the second-year film ACRYLICS.

The mandate of the American Cinema Editors is to advance the art and science of the editing profession.

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UNCSA’s Christopher James Lees to be Assistant Conductor of Charlotte Symphony

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UNCSA’s Christopher James Lees to be Assistant Conductor of Charlotte Symphony

By Staff

lees
lees

Christopher James Lees, associate professor of conducting at the University of North Carolina School of the Arts (UNCSA) and music director of the UNCSA Symphony Orchestra, has been named assistant conductor of the Charlotte Symphony beginning Sept. 1. He will continue in his roles at UNCSA.

Lees will lead the Charlotte Symphony’s Lollipops family series beginning in the 2016-17 season as well as select Pops performances. He will also conduct Charlotte Symphony education and community outreach concerts, including the annual Debbie Phillips concerts for middle school students, plus the Charlotte Symphony-Charlotte Ballet annual “Nutcracker” collaboration.

“I am enthusiastic about this opportunity to focus my external conducting activities with a fantastic organization within North Carolina. Through this appointment, our students interested in orchestral careers may also be able to connect more easily with their professional counterparts just down the road,” Lees said.

“I could not be more excited to represent the palpable energy, unfailing passion, and musical excellence exemplified in our UNCSA culture to a wider audience across the state,” he added.

Chancellor Lindsay Bierman said it is important for UNCSA faculty to maintain active participation in their professions. “It enables them to continue growing as artists, and it connects us in vitally important ways with artists and arts organizations across the country and throughout the world,” Bierman said. “With this appointment, Christopher James Lees will strengthen our relationship with the vibrant arts community in Charlotte.”

For UNCSA, Lees will conduct six concerts during the 2016-17 school year, beginning Saturday, Sept. 24, with a concert that features Tchaikovsky’s Symphony No. 4, and 2016 Concerto Competition winner Owen Dodds performing Ravel’s Piano Concerto in G Major. He will also conduct orchestra performances on Oct. 25; and Feb. 4, March 18 and April 25, 2017.

On Saturday, Nov. 19, he conducts UNCSA’s second annual Collage Concert, a showcase for the School of Music, featuring performances by the Symphony Orchestra, the Jazz Ensemble, chamber ensembles and soloists. Lees initiated and conducted the school’s first wildly popular Collage Concert in April 2016.

Lees joined the UNCSA School of Music faculty in 2014. In 2015, he became co-founder and conductor of the UNCSA-sponsored Triad Area Medical Orchestra, which provides performance opportunities for health care professionals in the Winston-Salem area. The group held its first public performance in February 2016 on the UNCSA campus. In March 2016, he coordinated a tour by the UNCSA Symphony Orchestra, with concerts in Chapel Hill, Charlotte and Brevard.

“Christopher James Lees has led our orchestra program with an amazing level of expertise and energy over the past two years, and I have no doubt that he will bring this same sense of professionalism and excitement to his work with the Charlotte Symphony,” said Karen Beres, Interim Dean of the School of Music.

“Our students who are interested in professional orchestral careers will have the benefit of a much closer connection to one of our state’s professional orchestras through Christopher’s position, and we look forward to possible collaborations with the Charlotte Symphony in the future,” she said.

A recipient of a Gustavo Dudamel Conducting Fellowship with the Los Angeles Philharmonic, Lees made his debut with that orchestra in April 2013.

Following two summers of study with Robert Spano at the Aspen Music Festival, Lees was named winner of both the 2011 James Conlon Conducting Prize and the 2012 Aspen Conducting Prize, respectively. In 2013, Lees returned for a third summer as assistant conductor for the Aspen Music Festival and School.

Lees received a prestigious Career Assistance Grant from the Solti Foundation US and was one of six conductors selected for the 2011 Bruno Walter Memorial Foundation National Conductor Preview, hosted by the League of American Orchestras and Louisiana Philharmonic Orchestra.

In the last three seasons, Lees has returned to the Los Angeles Philharmonic, Detroit, Milwaukee, and North Carolina symphonies, and conducted debuts with the Houston, Indianapolis, Kansas City, Toledo, Flint, Winston-Salem, Kalamazoo, and New Bedford symphonies. Additional guest conducting engagements have taken him to Portland (Maine), the National Arts Centre Orchestra, Orchestre de Chambre de Paris, Aspen Philharmonic Orchestra, Cabrillo Festival Orchestra, the Music in the Mountains Festival, and Festival Internacional de Inverno de Campos do Jordão in Brazil.

Lees has commissioned many new contemporary works and collaborated closely with Pulitzer Prize-winning composers including John Adams, William Bolcom, Joseph Schwantner, and Jennifer Higdon, among others.

“Christopher’s diverse and impressive background will be a valuable addition to the Charlotte Symphony family,” says Charlotte Symphony President and CEO Mary Deissler. “We are fortunate to bring on board such a young and accomplished talent.”

A native of Washington, D.C., Lees holds bachelors and master’s degrees from the University of Michigan. His primary conducting mentors are Robert Spano and Larry Rachleff.

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