So, all the interviews are in and, if I were in an actual cutting room instead of a digital bubble, I would have reels of tape lapping a my feet and would probably be minus a few fingers from all that splicing. Instead, today I face the daunting rask of opening up Adobe Audition and cracking on with a timeline.

As it’s been a while since I last blogged, I’ll fill you in (at this point “you” probably means my parents, who secretly just want to ensure i’m not having such a good time over here i’ll never come home, Charlotte, Peter and perhaps Dr Denis).

I managed to interview three of the four key interviewees I set out to get – not bad, considering Dr Hawass ended up in the “done” pile. As it happens, Jaclyn Pyatt – my first real contact in this whole project – was the contributor who absolutely would not get her voice recorded…and in the very end, stopped replying to my emails.

My project has shifted slightly – i’ve now narrowed my focus: the ca-ah-ash being made from Egyptian artifacts in the hadns of foreign museums, and it also examines how much longer they should remain in these foreign hands.

I’ve also narrowed down my audience: ABC Radio National, the Australian Broadcasting Corporation network which broadcasts about 60 programs right accross the country. Currently, Radio National’s “broadcast footprint” covers 98% of the Australian population – using 260 different transmitters to reach people who, quite literally, live in the middle of nowhere.

The show i’ve decided to pinpoint is Rear Vision – a History program, which goes out at 1pm on Sundays. It looks at the historical context, or the back story, of news items – such as the ongoing battle by Australian Aboriginal and Maori peoples to have their ancestral remains repatriated and returned from within the basements of Britian’s many state museums, including the BM.

Thus, I am using the current state of flux between requests and recognition at the British Museum as my point of commonality between dramas at the BM and in Cairo and a listener in their 1989 Holden Camira driving down the Stuart Highway on a Sunday afternoon in Aus.

I plan to start my documentary with clips of the Australians and Kiwis I voxed outside the British Museum (more difficult than you would think, as Aussies don’t generally identify themselves as such…I mean, in a group of Italian tourists at least one of them will be decked out in azzuri blue with ‘Italia’ plastered on them). I also intend to use Australian music to coaz the listener into the topic…. ‘Beds are Burning’ by Midnight Oil should fit well with my audience, and also with the overall feel of Radio National.

Plus, how could Nick Cave and the Bad Seeds’ ‘Red Right Hand’ not be perfect for Dr Hawass?

He’s a god, he’s a man,
he’s a ghost, he’s a guru
They’re whispering his name
through this disappearing land…

Brilliant. Plus the track has some amazing instrumental breaks. Aside form the music, and back to Dr Hawas… I think that will certainly be one of the most amazing interviews I do for a very, very long time. He started it all my causing a scene in the lobby at the Marriott in Mayfair, and informing the concierge that there were far too many children in the hotel and he would never stay there again. Also, he swanned around like he was god’s gift. Then he confirmed my suspicions by explaining to me in the interview that was, in fact, god’s gift to archaeology.

I want to tell you one thing that people can say. In the past Egypt face was explained by foreigner. Now for the first time Egypt face explained by an Egyptian, and this bother many people (loud). But in the same time God give me a gift – the gift is how I give sound bytes about our monuments. I think that they won’t take this gift back from me. I never try to compete with anyone, I’m just trying to present Egypt in a good way, and this really bothers lots of people, but what I want to say, that I’m trying to make another Zahi Hawass then if I leave antiquities will be good other people who follow my steps.

And, of course, this wasn’t the only subjective sentiment Dr Hawass expressed…. He made a number of inferences about the British Museum, their staff, their style of diplomacy, the legitimacy of their acquisitions (handling stolen goods?) and also the entire body of work of Dr JoAnn Fletcher (my internal defamation alarm was in overdrive….).

This called for a very tactful Right of Reply email addressed to Head of Media and PR at the British Museum!

And while all of the things Dr Hawass said had my attention from the minute he told me what he had for breakfast, I need to remember what it is that i’m aiming for in my documentary. Relics. Profits. Egypt. Do not get sidetracked….

…at least, if I do get sidetracked it should be in the interests of my project. I couldn’t resist a wee bit of cinematic indulgence. And it was staring me in the face at every tube stop. So much so that I whipped out the camera…

Still, could I EVER have imagined paying 10.50 for a cinema ticket?!

Uh, no. Amy J.

After an epic five hour train journey from London – with a three hour lay-over in the middle of nowhere, i.e. Retford – I have made it to the inside of York’s fine, fine city walls. This place is truly stunning – equally as magical as I remember as a kid. For someone who gets giddy knowing that half the buildings in Penryn are older than the contact history of my country, just imagine what the shambles of York are doing to my endorphins…

I’m all set to go for tomorrow’s interview with JoAnn Fletcher – and hopefully i won’t suffer the same technical woes I did at the BM. I have the time and the place, I’m armed with questions (and have stacks more unrelated questions about her fascinating work which I’ll be sure to fit in somehow!) and a well-thumbed copy of her somewhat controversial book, The Search for Nefertiti (well, what else do you do in Retford but read…).

I’ve also have a bit more luck on the email front. I think i’m beginning to break down the hard nuts at the BM who might – might – talk to me between now and my eightieth birthday. Really I just want to talk to Dr Parkinson about that Stone… good lord, it’s like nailing jelly to a wall, pulling teeth from a chicken and, in a way I imagine an over-excited journo at The Sun might put it, drawing blood from a (Rosetta) Stone. (Yes, Carrie, that one was for you).

I also had word from Benjamin Ward – the talkative young chappie from Brunswick Arts Consulting (the PR group building a media fortress for the Hadrian exhibition). He nicely emailed me a list of the journalists invited on the press trips to Tivoli – Hadrian’s top notch holiday villa in the Italian province of Lazio…and still quite a nice holiday spot for the 21st century… I must make a point of seeking out their press coverage of the Hadrian exhibition – commonalities maybe? Positive reviews? Not that I could be drawn on anything even if ALL their reports are glowing – the exhibition is quite spectacular in itself. But still, it will be interesting to see if they do, as Ben put it, “get a better feel for Hadrian” after having also experienced his favourite holiday spot.

Well, that’s it until tomorrow. Just as an aside – and in continuation of Amy’s Hostel Review of Britain – York International Youth Hostel is even better than the place in London. It’s set in a massive Victorian-era mansion just up the Ouse… And I’ll even let the 35 minute hike from the train station be offset by the history of it all. Excited just thinking about it… xx

I’m mp3′d, emailed, phoned and audio’d out…and it’s only 3pm. This reporter-on-the-run thing has no coffee breaks! Plus i’m probably buzzing with a mix of excitement (at having spoken to curators, critics and clerics at this morning’s press preview for the new Hadrian exhibit at the BM) and frustration (at not being able to record everything I wanted to from the exhibition because the compact flash in my M-Audio packs it in after 27 minutes). So really I want to dance around my hostel-cell with my M-Audio…and then slam it through the wall…

It's all here - the archaeology, the art critics, the atmosphere and THAT roof!

As one of two hundred journalists at the BM this morning I have to say I was impressed by what I saw. It would be hard not to be. Audio guides with narration by BM Director Neil MacGregor and curator Thorsten Opper, dimmed lights, poetry and prose etched across the walls of the exhibit (combined with the ancient writings etched on parts of Hadrian’s own wall!), gigantic marble sculptures, the minutae of papyri parchments, a scale model of Hadrian’s villa in Tivoli sprawling beneath a 10-foot cinema screen showing images of the resplendent ruins themselves… all nicely packaged underneath what, for all intents and purposes, is a Hadriatic Dome itself: the British Museum’s former Round Reading Room. (Try saying that a dozen times fast…)

But, beyond the chic design (which competes in scale with the O2 exhibit but clearly targets a more sophisticated spectator) there were a number of interesting things to note.

Antinous...in all his Egyptian splendour

Firstly, the rich potential for interview talent present under the same dome. I managed to get interview with Angus Stewart (fellow Antipodean and Head of the British sector of the International Assoc of Art Critics), Benjamin Ward from Brunswick PR (charged with marketing and push, push, pushing the exhibition to journalists and museum-goers), Tom Devonshire-Jones (a cleric, reportedly…I may have to google him), Jim Kennedy (a somewhat eccentric American antiquities dealer) and Thorsten Opper (the exhibition’s chief Curator!). However, I did also record a great interview with Assistant Curator Charo Rovira which my M-Audio took an apprent disliking to… not to worry. I scored an email address and an in-road to further interviews.

They made some interesting points – everything from the spectacularly appropriate setting to the modern political relevance of the exhibition (Hadrian was the Roman Emperor who, among a great many other feats which include building the Castel Sant’Angello and commissioning the Pantheon in Rome, first expelled the Jews from the Holy Land 2000 years ago, supressing an uprising and granting Judea a new name – the contemporary “Palestine”).

Audioguides: battling with technology

One of the most interesting things to emerge was the general opinion on audio guides. As Angus Stewart pointed out, the guides lead you through the exhibition – yet audiences end up engaging less with the artefact and more with the audiophone. Also, they have a tendency to ‘lead’ you to a popular conclusion – and allow an ideology to be placed on the exhibition’s theme – in this case, the memory of Hadrian.

Looking around, it was true. The overwhelming theme to emerge from the exhibit was Hadrian’s homosexuality. Branded on the wall, in a section devoted entirely to Hadrian’s offsider Antinous:

Hadrian had a young Greek lover called Antinous. For the Romans homosexual relationships were not unusual, but the intensity with which Hadrian mourned Antinous’ premature death and encouraged his cult in the eastern empire was without precedent.

So, “Hadrian: the great Emperor, not only did he build the wall up north, but he was gay at the same time” seems to be the take-home message for viewer’s of the BMs latest project. Indeed, it was a theme which featured heavily on Sunday night’s BBC documentary.

All that history under one...Dome

No doubt the show’s producers were part of the Hadrian press junket. Interesting, isn’t it, that a Museum constantly fighting for funding would cough up for an exclusive press trip (for only half a dozen top journalists) to visit Hadrian’s villa in person. Escorted by the exhibit’s curatorial staff, it was thought the trip would give the influential journalists a “better feel for the exhibition”. Just in case they couldn’t get that from the exhibition itself – is it not enough to be wowed by the amazing artefacts and exhibition space like the rest of us?

Anyhow… I must be off. This afternoon I feel there’s a need to explore the possibilities of the “private” museum – completely self-indulgent and with no public agenda.

If my legs can carry me there…!

{AMY: [Roman salute to computer terminal]}

xx

Romans in rear projection...