Group portrait by John Cooke, 1915. Back row (from left): F O Barlow, G Elliot Smith, Charles Dawson, Arthur Smith Woodward. Front row: A S Underwood, Arthur Keith, W P Pycraft, and Sir Ray Lankester.

The Piltdown Man was a hoax in which bone fragments were presented as the fossilised remains of a previously unknown early human. These fragments consisted of parts of a skull and jawbone, said to have been collected in 1912 from a gravel pit at Piltdown, East Sussex, England. The Latin name Eoanthropus dawsoni ("Dawson's dawn-man", after the collector Charles Dawson) was given to the specimen. The significance of the specimen remained the subject of controversy until it was exposed in 1953 as a forgery, consisting of the lower jawbone of an orangutan that had been deliberately combined with the skull of a fully developed modern human.

The Piltdown hoax is perhaps the most famous paleontological hoax ever. It has been prominent for two reasons: the attention paid to the issue of human evolution, and the length of time (more than 40 years) that elapsed from its discovery to its full exposure as a forgery.

Find[link]

At a meeting of the Geological Society of London held on 18 December 1912, Charles Dawson claimed to have been given a fragment of the skull four years earlier by a workman at the Piltdown gravel pit. According to Dawson, workmen at the site had discovered the skull shortly before his visit and had broken it up in the belief that it was a fossilised "coconut". Revisiting the site on several occasions, Dawson found further fragments of the skull and took them to Arthur Smith Woodward, keeper of the geological department at the British Museum. Greatly interested by the finds, Woodward accompanied Dawson to the site where, although working together between June and September 1912, Dawson alone recovered more fragments of the skull and half of the lower jaw bone.^[1]

Piltdown Man skull

The skull unearthed in 1908 was the only find discovered in situ with most of the other pieces found in the gravel pits' spoil heaps.

At the same meeting, Woodward announced that a reconstruction of the fragments had been prepared that indicated that the skull was in many ways similar to that of a modern human's, except for the occiput (the part of the skull that sits on the spinal column) and for brain size, which was about two-thirds that of a modern human's. He then went on to indicate that save for the presence of two human-like molar teeth the jaw bone found would be indistinguishable from that of a modern, young chimpanzee. From the British Museum's reconstruction of the skull, Woodward proposed that Piltdown man represented an evolutionary missing link between apes and humans, since the combination of a human-like cranium with an ape-like jaw tended to support the notion then prevailing in England that human evolution began with the brain.

Almost from the outset, Woodward's reconstruction of the Piltdown fragments was strongly challenged. At the Royal College of Surgeons copies of the same fragments used by the British Museum in their reconstruction were used to produce an entirely different model, one that in brain size and other features resembled a modern human. This reconstruction, by Prof. Arthur Keith (later Sir), was called Homo piltdownensis in reflection of its more human appearance.^[2]

Woodward's reconstruction had included apelike canine teeth which was itself controversial. In August 1913, Woodward, Dawson and Pierre Teilhard de Chardin, a Jesuit priest and friend of Dawson who had trained as a paleontologist and geologist, began a systematic search of the spoil heaps specifically to find the missing canines. Teilhard soon found a canine that Woodward found fitted the jaw perfectly. A few days later Teilhard moved to France and took no further part in the discoveries. Noting that the tooth "corresponds exactly with that of an ape"^[3], Woodward expected the find to end any dispute over his reconstruction of the skull. However, Keith attacked the find. Keith pointed out that human molars are the result of side to side movement when chewing. The canine in the Piltdown jaw was impossible as it prevented side to side movement. To explain the wear on the molar teeth, the canine could not have been any higher than the molars. Smith sided with Woodward and at the next Royal Society meeting accused Keith of opposing Woodward due to "rabid ambition"^{[cite this quote]}. Keith later recalled "such was the end of our long friendship"^{[cite this quote]}.

As early as 1913, David Waterston of King's College London published in Nature his conclusion that the sample consisted of an ape mandible and human skull.^[4] Likewise, French paleontologist Marcellin Boule concluded the same thing in 1915. A third opinion from American zoologist Gerrit Smith Miller concluded Piltdown's jaw came from a fossil ape.

The Sheffield Park find[link]

In 1915, Dawson claimed to have found three fragments of a second skull (Piltdown II) at a new site about two miles away from the original finds.^[1] Woodward attempted several times to elicit the location from Dawson but was unsuccessful. So far as is known the site has never been identified and the finds appear to be largely undocumented. Woodward did not present the new finds to the Society until five months after Dawson's death in August 1916 and deliberately implied that he knew where they had been found. In 1921, Henry Fairfield Osborn, President of the American Museum of Natural History, examined the Piltdown and Sheffield Park finds and declared that the jaw and skull belonged together "without question" and that the Sheffield Park fragments "were exactly those which we should have selected to confirm the comparison with the original type".

The Sheffield Park find established the authenticity of the discoveries. It may have been chance that brought an ape's jaw and a human skull together but the odds of it happening twice verged on mathematical impossibility and opponents gradually gave up and conceded that they were wrong.

Memorial to the discovery[link]

The Piltdown Man memorial stone.

On 23 July 1938, at Barkham Manor, Piltdown, Sir Arthur Keith unveiled a memorial to mark the site where Piltdown Man was discovered by Charles Dawson. Sir Arthur finished his speech saying:

So long as man is interested in his long past history, in the vicissitudes which our early forerunners passed through, and the varying fare which overtook them, the name of Charles Dawson is certain of remembrance. We do well to link his name to this picturesque corner of Sussex–the scene of his discovery. I have now the honour of unveiling this monolith dedicated to his memory.^[5]

The inscription on the memorial stone reads:

Here in the old river gravel Mr Charles Dawson, FSA found the fossil skull of Piltdown Man, 1912–1913, The discovery was described by Mr Charles Dawson and Sir Arthur Smith Woodward, Quarterly Journal of the Geological Society, 1913–15.

Exposure of the hoax[link]

Scientific investigation[link]

From the outset, some scientists expressed skepticism about the Piltdown find (see above). G.S. Miller, for example, observed in 1915 that "deliberate malice could hardly have been more successful than the hazards of deposition in so breaking the fossils as to give free scope to individual judgment in fitting the parts together."^[6] In the decades prior to its exposure as a forgery in 1953, scientists increasingly regarded Piltdown as an enigmatic aberration inconsistent with the path of hominid evolution as demonstrated by fossils found elsewhere.^[1] Skeptical scientists only increased in number as more fossils were found.^{[citation needed]}

In November 1953, Time published evidence gathered variously by Kenneth Page Oakley, Sir Wilfrid Edward Le Gros Clark and Joseph Weiner proving that the Piltdown Man was a forgery^[7] and demonstrating that the fossil was a composite of three distinct species. It consisted of a human skull of medieval age, the 500-year-old lower jaw of a Sarawak orangutan and chimpanzee fossil teeth. The appearance of age had been created by staining the bones with an iron solution and chromic acid. Microscopic examination revealed file-marks on the teeth, and it was deduced from this that someone had modified the teeth to give them a shape more suited to a human diet.

The Piltdown man hoax had succeeded so well because, at the time of its discovery, the scientific establishment had believed that the large modern brain had preceded the modern omnivorous diet, and the forgery had provided exactly that evidence. It has also been thought that nationalism and cultural prejudice played a role in the less-than-critical acceptance of the fossil as genuine by some British scientists.^[4] It satisfied European expectations that the earliest humans would be found in Eurasia, and the British, it has been claimed,^[4] also wanted a first Briton to set against fossil hominids found elsewhere in Europe, including France and Germany.

Identity of the forger[link]

The identity of the Piltdown forger remains unknown, but suspects have included Dawson, Pierre Teilhard de Chardin, Arthur Keith, Martin A. C. Hinton, Horace de Vere Cole and Arthur Conan Doyle.^[8]

Teilhard had travelled to regions of Africa where one of the anomalous finds originated, and was residing in the Wealden area from the date of the earliest finds. Hinton left a trunk in storage at the Natural History Museum in London that in 1970 was found to contain animal bones and teeth carved and stained in a manner similar to the carving and staining on the Piltdown finds. Phillip Tobias implicated Arthur Keith by detailing the history of the investigation of the hoax, dismissing other theories, and listing inconsistencies in Keith's statements and actions.^[9] Other investigations suggest the hoax involved accomplices rather than a single forger.^[10]

The focus on Charles Dawson as the main forger is supported by the accumulation of evidence regarding other archaeological hoaxes he perpetrated in the decade or two prior to the Piltdown discovery. Archaeologist Miles Russell of Bournemouth University analyzed Dawson's antiquarian collection and determined at least 38 were fakes. Among these were the teeth of a reptile/mammal hybrid, Plagiaulax dawsoni, "found" in 1891 (and whose teeth had been filed down in the same way that the teeth of Piltdown man would be some 20 years later), the so-called "shadow figures" on the walls of Hastings Castle, a unique hafted stone axe, the Bexhill boat (a hybrid sea faring vessel), the Pevensey bricks (allegedly the latest datable "finds" from Roman Britain), the contents of the Lavant Caves (a fraudulent "flint mine"), the Beauport Park "Roman" statuette (a hybrid iron object), the Bulverhythe Hammer (shaped with an iron knife in the same way as the Piltdown elephant bone implement would later be), a fraudulent "Chinese" bronze vase, the Brighton "Toad in the Hole" (a toad entombed within a flint nodule), the English Channel sea serpent, the Uckfield Horseshoe (another hybrid iron object) and the Lewes Prick Spur. Of his antiquarian publications, most demonstrate evidence of plagiarism or at least naive referencing. Russell wrote: "Piltdown was not a 'one-off' hoax, more the culmination of a life's work."^[11]

Dawson's work prior to Piltdown had also been suspect. On one occasion, a collection of flints he exchanged with another collector, Harry Morris, turned out to have been aged with chemicals, a fact Morris recorded at the time and which was later revealed. There were also numerous individuals in the Sussex area well-acquainted with Dawson who long had doubts about Piltdown and of Dawson's role in the matter, but given the sheer weight of scholarly affirmation regarding the find few if any were willing to publicly speak out for fear of being ridiculed for their trouble.^{[citation needed]}

Legacy[link]

A replica of the Piltdown man skull.

Early humans[link]

During 1912, the Piltdown man was believed to be the “missing link” between apes and humans by the majority of the scientific community. However, over time the Piltdown man lost its validity, as other discoveries such as Taung Child and Peking Man were found. R.W. Ehrich and G.M. Henderson note, “To those who are not completely disillusioned by the work of their predecessors, the disqualification of the Piltdown skull changes little in the broad evolutionary pattern. The validity of the specimen has always been questioned.”^[12] Eventually, during the 1940s and 1950s, more advanced dating technologies, such as the fluorine absorption test, proved scientifically that this skull was actually a fraud.

Influence[link]

The Piltdown man fraud had a significant impact on early research on human evolution. Notably, it led scientists down a blind alley in the belief that the human brain expanded in size before the jaw adapted to new types of food. Discoveries of Australopithecine fossils found during the 1920s in South Africa were ignored owing to Piltdown man, and the reconstruction of human evolution was confused for decades. The examination and debate over Piltdown man caused a vast expenditure of time and effort on the fossil, with an estimated 250+ papers written on the topic.

The fossil was introduced as evidence by Clarence Darrow in defense of John Scopes during the 1925 Scopes Monkey Trial. Darrow died during 1938, more than ten years before Piltdown Man was exposed as a fraud.

The hoax is often cited (along with Nebraska Man) by creationists as an example of the dishonesty of paleontologists that study human evolution, despite the fact that scientists had exposed the hoax themselves.^[13][14]

In November 2003, the Natural History Museum in London held an exhibition to mark the 50th anniversary of its exposure.^[15]

Early 20th century science[link]

The Piltdown case is a strong example of how racial, nationalist, and gendered discourses shaped some science at the time. Piltdown's semi-human features were made sense of by reference to non-White ethnicities who were at that time considered by many Europeans to a lower form of human.^[16] The influence of nationalism was clear in the differing interpretations of the find: whilst the majority of British scientists accepted the discovery as "the Earliest Englishman", ^[17] European and American scientists were considerably more sceptical, and several suggested at the time that the skull and jaw were from two different creatures and had been accidentally mixed up.^[16] Regarding gender, the find was discussed as a male, despite Woodward suggesting that the specimen discovered was a female. The only exception to this was in coverage by the Daily Mail newspaper, which referred to the discovery as a woman, but only to use it to mock the Suffragette movement of the time, of which the Mail was highly critical.^[18]

Such discourses were not uncommon in the biological sciences, and persisted up until the middle of the century. The atrocities committed by Nazi scientists before and during World War II brought the dangers of scientific racism to the foreground, and along with changing attitudes in society, had the effect of largely purging these practices from science.^[19]

Timeline[link]

• 1908: Dawson claims discovery of first Piltdown fragments.
• 1912 February: Dawson contacts Woodward about first skull fragments.
• 1912 June: Dawson, Woodward, and Teilhard form digging team.
• 1912 June: Team finds elephant molar, skull fragment.
• 1912 June: Right parietal skull bones and the jaw bone discovered.
• 1912 November: News breaks in the popular press.
• 1912 December: Official presentation of Piltdown man.
• 1914: Talgai skull (Australia) found, considered, at the time, to confirm Piltdown.
• 1925: Edmonds reports Piltdown geology error. Report ignored.
• 1943: Fluorine content test is first proposed.
• 1948: Woodward publishes The Earliest Englishman
• 1949: Fluorine content test establishes Piltdown man as relatively recent.
• 1953: Weiner, Le Gros Clark, and Oakley expose the hoax.

See also[link]

• Archaeoraptor
• Batavus genuinus
• Bone Wars – Similar rivalry and hoaxes over dinosaur bones in the late 19th century.
• Cardiff Giant
• The Piltdown Men – An American band whose name was inspired by the hoax.

References[link]

Further reading[link]

• The Times, 21 November 1953; 23 November 1953
• Blinderman, Charles (1986), The Piltdown Inquest, Buffalo, New York: Prometheus Books, ISBN 0-87975-359-5 .
• Feder, Kenneth L. (2008), Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology (6th ed.), New York: McGraw-Hill, pp. 73–101, ISBN 0-07-340529-9 .
• Millar, Ronald (1972), The Piltdown Men, New York: Ballantine Books, ISBN 0-575-00536-X, OCLC 2009318 .
• Russell, Miles (2003), Piltdown Man: The Secret Life of Charles Dawson & the World's Greatest Archaeological Hoax, Stroud, Gloucestershire: Tempus Publishing, ISBN 0-7524-2572-2 .
• Shreeve, James (1996), The Neanderthal Enigma: Solving the Mystery of Modern Human Origins, New York: HarperCollins, ISBN 0-380-72881-8 .
• Spencer, Frank (1990), Piltdown: A Scientific Forgery, Oxford: Oxford University Press, ISBN 0-19-858522-5 .
• Walsh, John E. (1996), Unraveling Piltdown: The Science Fraud of the Century and Its Solution, New York: Random House, ISBN 0-679-44444-0 .
• Weiner, Joseph S. (2003), The Piltdown Forgery: the classic account of the most famous and successful hoax in science, Oxford: Oxford University Press, ISBN 0-19-860780-6 .
• Woodward, A. Smith (1948), The Earliest Englishman, Thinker's Library, 127, London: Watts & Co., http://www.clarku.edu/~piltdown/map_report_finds/earliest_english.html 
• Roberts, Noel Keith (2000), From Piltdown Man to Point Omega: the evolutionary theory of Teilhard de Chardin (New York: Peter Lang)

External links[link]

• "Piltdown Man: Case Closed" at Bournemouth University
• "Charles Dawson Piltdown Faker" BBC News
• Piltdown Man documentary Discovery Channel
• Piltdown Man at the Natural History Museum, London
• The Piltdown Plot at Clark University
• Archæological Forgeries
• The Unmasking of Piltdown Man BBC
• Fossil fools: Return to Piltdown BBC
• The Boldest Hoax (about Piltdown Man case) PBS NOVA
• Sarah Lyell, "Piltdown Man Hoaxer: Missing Link is Found", The New York Times, 25 May 1996. The case for Martin A. C. Hinton as the hoaxer.
• An annotated bibliography of the Piltdown Man forgery, 1953–2005 by Tom Turrittin.

Coordinates: 50°59′16″N 0°03′46″E / 50.98778°N 0.06278°E / 50.98778; 0.06278

Mike Oldfield
Mike Oldfield, December 2006, at the Night of the Proms
Background information
Birth name	Michael Gordon Oldfield
Born	(1953-05-15) 15 May 1953 (age 59) Reading, Berkshire, England
Genres	Progressive rock, pop, Celtic fusion, world, new age, Neoclassical, Ambient, classical, experimental, minimalist
Occupations	Musician, songwriter, producer, game designer
Instruments	Guitar, keyboards, Percussion, vocals, bass, glockenspiel, mandolin, banjo, tubular bells, Chapman stick
Years active	1967–present
Labels	Virgin (1972–1991) Warner Bros. (1992–2003) Mercury (2005–present)
Associated acts	Maggie Reilly, Kevin Ayers, Robert Wyatt, David Bedford, Anita Hegerland, Pekka Pohjola
Website	www.mikeoldfieldofficial.com

Michael Gordon Oldfield (born 15 May 1953) is an English multi-instrumentalist musician and composer, working a style that blends progressive rock, folk, ethnic or world music, classical music, electronic music, New Age, and more recently, dance. His music is often elaborate and complex in nature. He is best known for his hit 1973 album Tubular Bells, which launched Virgin Records, and for his 1983 hit single "Moonlight Shadow".^[1] He is also well known for his hit rendition of the Christmas piece, "In Dulci Jubilo".

Biography[link]

Oldfield's parents are Raymond Oldfield, a general practitioner, and his wife Maureen Liston, a nurse.^[2] His sister Sally and brother Terry are successful musicians in their own right and have appeared on several of his albums. Mike Oldfield was born in the Battle Hospital, Reading, Berkshire, and he attended St Joseph's Convent School, Highlands Junior School in Tilehurst, St Edward's Preparatory School,^[3] and Presentation College in Reading. When he was 13 he moved with his parents to Harold Wood in northeast London, where he attended Hornchurch Grammar School. He only stayed there long enough to take one GCE examination, in English, as he had already begun his music career.^[3]

Early career[link]

Oldfield's career began fairly early, playing acoustic guitar in local folk clubs. At this time, he already had two fifteen-minute instrumental pieces in which he would "go through all sorts of moods", precursors to his landmark 1970s' compositions. In his early teens, Oldfield was involved in a 'beat group' playing Shadows-style music (he has often cited Hank Marvin as a major influence, and would later cover The Shadows' song "Wonderful Land"). In 1967 he and his sister Sally formed the folk duo The Sallyangie and were signed to Transatlantic Records after exposure in the local folk scene. An album, Children of the Sun, was issued in 1968. After Sallyangie disbanded, he formed another duo with his brother Terry, called Barefoot, which took him back to rock music.^[4]

In 1970 he joined The Whole World – backing group to vocalist Kevin Ayers, formerly of the Soft Machine – playing bass guitar and occasionally lead guitar. The band also included keyboardist and composer David Bedford, who quickly befriended Oldfield, and encouraged him in his composition of an early version of Tubular Bells. Bedford would later arrange and conduct an orchestral version of that album. Oldfield is featured on two Ayers albums, Whatevershebringswesing and Shooting at the Moon.

Having recorded a number of demo pieces of music, which would later turn into Tubular Bells, Oldfield attempted to persuade record labels to take the project on with no success. In September 1971 Oldfield went to the Manor Studio, owned by the young Richard Branson and run by engineers Tom Newman and Simon Heyworth, to record as bass guitarist in the Arthur Louis Band. Branson already had a number of business ventures and was about to start his own record label, Virgin Records. After Newman and Heyworth heard Oldfield's demo they took it to Branson and Simon Draper. They eventually gave Oldfield one week to record at the Manor, during which Oldfield completed "Part One" of Tubular Bells. "Part Two" was then completed over a number of months.^[5]

Virgin years (1973–1991)[link]

Tubular Bells became Oldfield's most famous work. The instrumental composition was recorded in 1972 and launched on 25 May 1973 as the inaugural album of Richard Branson's Virgin Records label. The album was groundbreaking, as Oldfield played more than twenty different instruments in the multi-layered recording made in Branson's Manor Studio, and its style moved through many diverse musical genres. Its 2,630,000 UK sales put it at No.34 on the list of the best selling albums in the UK. In the US, it received attention with the opening theme appearing in the soundtrack to The Exorcist. The title track subsequently became a Top 10 hit single in the US as well and is today considered to be a forerunner of the New Age movement.^[6] In 1974, Oldfield played guitar on the critically acclaimed album Rock Bottom by Robert Wyatt. In the autumn of 1974, the follow-up LP, Hergest Ridge, was No.1 in the UK for three weeks before being dethroned by Tubular Bells. Although Hergest Ridge was released over a year after Tubular Bells, it reached No.1 first. Tubular Bells spent 11 weeks (10 of them consecutive) at No.2 before its one week at the top. In 1979, Oldfield's music was used as the musical score for The Space Movie, a Virgin movie that celebrated the 10th anniversary of the Apollo 11 mission.^[7]

Like Tubular Bells, Hergest Ridge is a two-movement instrumental piece, this time evoking scenes from Oldfield's Herefordshire country retreat. It was followed in 1975 by the pioneering world music piece Ommadawn, and 1978's Incantations which introduced more diverse choral performances from Sally Oldfield, Maddy Prior, and the Queen's College Girls Choir. In 1975 Oldfield recorded a version of the Christmas piece "In Dulci Jubilo" which charted at number four in the UK. Oldfield's 1976 rendition of "Portsmouth" remains his highest charting single on the UK Singles Chart, reaching number three.^[8]

In 1976 Oldfield and his sister Sally joined his friend and band member Pekka Pohjola to play on his album Mathematician's Air Display, which was released in 1977. The album was recorded and edited at Oldfield's Througham Slad Manor in Gloucestershire by Oldfield and Paul Lindsay.^[9]

Around the time of Incantations, Oldfield underwent a controversial self-assertiveness therapy course known as Exegesis.^[10] Possibly as a result, the formerly reclusive musician staged a major European tour to promote the album, chronicled in his live album Exposed, much of which was recorded at the National Exhibition Centre near Birmingham.

In 1975, Oldfield received a Grammy award for Best Instrumental Composition in "Tubular Bells – Theme from The Exorcist". In 1979, he recorded a version of the signature tune of the popular British Children's Television programme, Blue Peter, which was used by the show for 10 years.^[11]

The early 1980s saw Oldfield make a transition to mainstream pop music, beginning with the inclusion of shorter instrumental tracks and contemporary cover versions on Platinum and QE2 (the latter named after the ocean liner). Soon afterwards he turned to songwriting, with a string of collaborations featuring various lead vocalists alongside his characteristic searing guitar solos. The best known of these is "Moonlight Shadow", his 1983 hit with Maggie Reilly. The most successful Oldfield composition on the US pop charts during this period was actually a cover version — Hall & Oates's remake of Oldfield's "Family Man" for their 1982 album H₂O. Released as the album's third single, it hit the Top 10 during the spring of 1983 and was a hugely popular MTV music video.

Oldfield later turned to film and video, writing the score for Roland Joffé's acclaimed film The Killing Fields and producing substantial video footage for his album Islands. Islands continued what Oldfield had been doing on the past couple of albums, with an instrumental piece on one side and rock/pop singles on the other. Of these, "Islands", sung by Bonnie Tyler and "Magic Touch", with vocals by Max Bacon (in the U.S. version) and Glasgow vocalist Southside Jimmy (in other versions),^[12] were the major hits. In the U.S., the Virgin America airline promoted the song "Magic Touch" to a large extent, making it a success, reaching the top 10 on the Billboard album rock charts. During the 1980s, Oldfield's then-wife, Norwegian singer Anita Hegerland, contributed vocals to many songs including "Pictures in the Dark".

Earth Moving was released in July 1989, and was a moderate success. The album was the first to exclusively feature rock/pop songs, several of which were released: "Innocent" and "Holy" in Europe, and "Hostage" in the USA for album rock stations. This was, however, a time of much friction with his record label. Virgin Records reportedly insisted that any future instrumental album should be billed as Tubular Bells 2. Oldfield's rebellious response was Amarok, an hour-long work featuring rapidly changing themes (supposedly devised to make cutting a single from the album impossible), unpredictable bursts of noise, and a very cleverly hidden Morse code insult directed at Richard Branson. Although regarded by many fans as his greatest work, it was not a commercial success. His parting shot from the Virgin label was Heaven's Open, which continued the veiled attacks on Branson but was notable for being the first time Oldfield had contributed all the lead vocals himself. It was the only album he released under the name 'Michael Oldfield'.

Warner years (1992–2003)[link]

The very first thing Oldfield did when arriving at his new label, Warner Bros., was to write and release Tubular Bells II, the sequel to his first record on Virgin, as his final insult to his former label. It was premiered at a live concert at Edinburgh Castle. He then continued to embrace new musical styles, with The Songs of Distant Earth (based on Arthur C. Clarke's novel of the same name) exhibiting a softer "New Age" sound. In 1994 he also had an asteroid named after him, 5656 Oldfield.^[13][14]

In 1995 Oldfield further continued to embrace new musical styles by producing a Celtic-themed album, Voyager. In 1992 Oldfield met Luar na Lubre, a Galician Celtic-folk band (from A Coruña, Spain). The band's popularity grew after Oldfield covered their song "O son do ar" ("The sound of the air") on his Voyager album.

In 1998 he produced the third Tubular Bells album (also premiered at a concert, this time in Horse Guards Parade, London), drawing from the dance music scene at his then new home on the island of Ibiza. This album was still inspired by themes from Tubular Bells, but differed in lacking a clear two-part layout.

During 1999 Oldfield released two albums. The first, Guitars, used guitars as the source for all the sounds on the album, including percussion. The second, The Millennium Bell, consisted of pastiches of a number of styles of music that represented various historical periods over the past millennium. The work was performed live in Berlin for the city's millennium celebrations in 1999–2000.

He added to his repertoire the MusicVR project, combining his music with a virtual reality-based computer game. His first work on this project is Tr3s Lunas launched in 2002, a virtual game where the player can interact with a world full of new music. This project appeared as a double CD, one with the music, and the other with the game.

In 2003 he released Tubular Bells 2003, a re-recording of the original Tubular Bells, on CD, and DVD-Audio. This was done to "fix" many "imperfections" in the original due to the recording technologies of the early 1970s and limitations in time that he could spend in the recording studio. It celebrated the 30th anniversary of Tubular Bells, Oldfield's 50th birthday and his marriage to Fanny in the same year. At around the same time Virgin released an SACD version containing both the original stereo album and the 1975 quadraphonic mix by Phil Newell. In the 2003 version, the original voice of the 'Master of Ceremonies' (Viv Stanshall) was replaced by the voice of John Cleese, Stanshall having died in the interim.

Mercury years (since 2004)[link]

Mike Oldfield playing a PRS Custom 24 guitar at the Night of the Proms in December 2006.

On 12 April 2004 Oldfield launched his next virtual reality project, Maestro, which contains music from the Tubular Bells 2003 album and also some new chillout melodies. The games have since been made available free of charge on Tubular.net. A double album, Light + Shade, was released on Mercury Records in 2005, with whom Mike had recently signed a three-album deal. The two discs contain music of contrasting moods, one relaxed (Light) and the other more edgy and moody (Shade). Oldfield headlined the German Night of the Proms tour, consisting of 18 concerts in December 2006.^[15]

His autobiography Changeling was published in May 2007 by Virgin Books.^[16] In March 2008 Oldfield released his first classical album, Music of the Spheres; Karl Jenkins assisted with the orchestration.^[17] In the first week of release the album topped the UK Classical chart and reached number 9 on the main UK Album Chart. A single, "Spheres", featuring a demo version of pieces from the album was released digitally. The album was nominated for a Classical Brit Award, the NS&I Best Album of 2009.

In 2008 Oldfield contributed an exclusive song ("Song for Survival") to a charity album called Songs for Survival, in support of the Survival International.^[18] Oldfield's daughter, Molly, played a large part in the project.^[19]

In 2008 when Oldfield's original 35-year deal with Virgin Records ended, the rights to Tubular Bells and his other Virgin releases were returned to him,^[20] and then they were transferred to Mercury Records.^[21] Mercury issued a press release on 15 April 2009, noting that Oldfield's Virgin albums would be re-released, starting 8 June 2009. These releases include special features from the archives.^[22] On 6 June 2009, an International Bell Ringing day took place, to promote the reissue of his first album, Tubular Bells.^[22] The next two albums were reissued in June 2010 along with the launch of a new official web site.^[23] Incantations was reissued in July 2011.^[24]

In March 2010 Music Week reported that publishing company Stage Three Music (now a part of BMG) had acquired a 50% stake in the songs of Oldfield's entire recorded output in a seven-figure deal.^[25][26][27]

In 2010 lyricist Don Black said in an interview with Music Week that he had been working with Oldfield.^[28] According to German producer Torsten Stenzel, he was in a studio with Oldfield collaborating on a chill-out track for a forthcoming album by Stenzel's York project. In 2012 Oldfield was featured on Terry Oldfield's Journey into Space album.

Personal life[link]

Oldfield and his siblings were raised Roman Catholic, the faith of their Irish mother.^[29] In the late 1970s, Oldfield briefly married Diana D'Aubigny (the sister of the Exegesis group leader), but this lasted just a few weeks.

Mike Oldfield has seven children. In the early 1980s, he had three children with Sally Cooper (Molly, Dougal and Luke). In the late 1980s, he had two children (Greta and Noah) with Norwegian singer Anita Hegerland. In the 2000s, he married Fanny Vandekerckhove (born 1977), whom he met during his time in Ibiza; they have two sons together (Jake and Eugene).^[30]

Oldfield is a motorcycle fan and has five bikes. These include a BMW R1200GS, a Suzuki GSX-R750, a Suzuki GSX-R1000, and a Yamaha R1. He also says that some of his inspiration for composing comes from riding them.^[31] Throughout his life Oldfield has also had a passion for aircraft and building model aircraft.^[2] Since 1980 he has also been a licensed pilot^[32] and has flown fixed wing aircraft, the first of which was a Beechcraft Sierra and helicopters including the Agusta Bell 47G which featured on the sleeve of his cover version of the ABBA song "Arrival" as a parody of their album artwork. He is also interested in cars and has owned a Ferrari and a Bentley which was a gift from Richard Branson as an incentive for him to give his first live performance of Tubular Bells.^[33] He has endorsed the Mercedes-Benz S-Class in the Mercedes UK magazine. Oldfield also considers himself to be a Trekkie (fan of the popular science fiction television series Star Trek).^[34] He also noted in an interview in 2008 that he had two boats.^[34]

In November 2006, musician Noel Gallagher won a Spanish court case against Oldfield. Gallagher had bought an Ibiza villa for £2.5 million from Oldfield in 1999, but quickly discovered that part of the cliff-top property was falling into the sea. According to The Sun, the resulting court case awarded Gallagher a six-figure sum in compensation. Suspicion abounds in the music industry that the law-suit was initiated because of embarrassment that Gallagher brought on himself by not having a proper survey done on the property before buying it. This included making an immediate and noisy complaint about someone's yacht tied up at the villa's jetty before it was pointed out that the yacht came with the villa and was, in fact, his.^[35]

In 2007 Oldfield caused a minor stir in the British press by criticizing Britain for being too controlling and protective, specifically concentrating on the smoking ban which England and Wales had introduced that year. Oldfield then moved from his Gloucestershire home to Palma de Mallorca, Spain.^[36][37] He has lived outside the UK in the past, including living in Los Angeles and Ibiza in the 1990s, and Switzerland in the mid-1980s, for tax reasons. He also currently has a home in Monaco. In 2009 he decided to move to the Bahamas, and put his home in Mallorca up for sale; the asking price was around €3.5 million, but has since been lowered, and as of April 2012 is still listed as available for sale by a major international real estate agency.^[38][39]

Instruments[link]

Oldfield is a multi-instrumentalist; however he considers himself to be predominantly a guitarist.^[40]

Guitars[link]

Over the years Oldfield has used a various selection of guitars, some of the most noted being:

• A 1963 (also quoted as 1961 and 1962) salmon pink (fiesta red) Fender Stratocaster serial no.L08044 – used by Oldfield from 1984 (Discovery album) until 2006 (Night of the Proms, rehearsals in Antwerp) – Sold for £30,000 at Chandler Guitars.
• A 1989 amber PRS Artist Custom 24 – used by Oldfield from the late 1980s to the present day.
• A 1966 blonde Fender Telecaster serial no. 180728 – the only electric guitar used on Tubular Bells and also previously owned by Marc Bolan.^[41] Oldfield has since sold the guitar and donated the money to the SANE charity. This guitar had been put up for auction a number of times by Bonhams in 2007, 2008 and 2009 with estimates of £25,000 – 35,000, £10,000 – 15,000 and £8,000 – 12,000 respectively.^[42][43][44]
• Various Gibson Les Paul and SGs – used by Oldfield extensively in the 1970s and 80s.

Oldfield used a modified Roland GP8 effects processor in conjunction with his PRS Artist to get many of his heavily overdriven guitar sounds from the Earth Moving album onwards.^[41] Oldfield has also been using Guitar synthesizers since the mid-1980s, using a 1980s Roland GR-300/G-808 type system, then a 1990s Roland GK2 equipped red PRS Custom 24 (sold in 2006) with a Roland VG8,^[41] and most recently a Line 6 Variax.

Oldfield has an unusual playing style, using both fingers and fingernails and several ways of creating vibrato: a "very fast side-to-side vibrato" or "violinist's vibrato".^[45] Oldfield has also stated that his playing style originates from his musical roots playing folk music and the bass guitar.^[3]

Recording[link]

Oldfield has self-recorded and produced many of his albums, and played the majority of the instruments that feature on them, largely at his home studios. In the 1990s and 2000s he has been mainly using DAWs such as Apple Logic, Avid Pro Tools and Steinberg Nuendo as recording suites.^[46] For composing classical music Oldfield has been quoted as using the software notation program, Sibelius,^[16] combined with Apple Macintoshes.^[47] He also used the FL Studio DAW on his 2005 double album Light + Shade.^[48] Among the mixing consoles Oldfield has owned are an AMS Neve Capricorn 33238, a Harrison Series X,^[49] and a Euphonix System 5-MC.^[50]

Keyboards[link]

Over the years Oldfield has owned and used a vast number of synthesizers and other keyboard instruments. In the 1980s he composed the score for the film The Killing Fields on a Fairlight CMI.^[41] Some examples of keyboard and synthesized instruments which Oldfield has made use of includes Sequential Circuits Prophets (notably on Platinum), Roland JV-1080/JV-2080 units (in the 1990s), a Korg M1 (as seen in the "Innocent" video), a Clavia Nord Lead, and Steinway pianos among an almost endless list of others. In recent years Oldfield has also made use of software synthesis, such as Native Instruments products, notably on his Light + Shade album.^[51]

Discography[link]

Oldfield has had more than 30 charting albums and 25 charting singles on the British charts, and many more around the world.

Main albums[link]

Quotation[link]

NME – April 1979^[52]

See also[link]

• Sally Oldfield
• Terry Oldfield
• Kevin Ayers
• Maggie Reilly
• Rick Fenn
• Maddy Prior
• Anita Hegerland
• New Age music
• Electronic music
• Virgin Records

Bibliography[link]

• Moraghan, Sean. A Man and his Music (Biography). BookSurge Publishing. ISBN 978-1-4196-4926-4. 
• Evans, Peter (1994). Music from the Darkness – Mike Oldfield, 1953–1993. http://www.mikeoldfield.org/info/features/index.htm. Retrieved 2008-11-12. 
• Branson, Richard (1998). Losing My Virginity. Virgin Books. ISBN 978-0-7535-0648-6. 
• Oldfield, Mike (2007). Changeling. Virgin Books. ISBN 978-1-85227-381-1. 

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Mike Oldfield

Wikimedia Commons has media related to: Mike Oldfield

Official sites

• MikeOldfieldOfficial.com – The official Mike Oldfield website
  • Mike Oldfield official Universal store
• MikeOldfield.org – The official Mike Oldfield information service

Fan-based sites

• Tubular.net – The largest and most well-established Mike Oldfield website, for news and information.

Other sites

• Mike Oldfield at the Internet Movie Database
• Mike Oldfield at Allmusic
• Mike Oldfield on Myspace

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2008)

Illustration of a caveman hunting a brown bear

A caveman or troglodyte is a stock character based upon widespread concepts of the way in which early prehistoric humans may have looked and behaved. The term caveman, sometimes used colloquially to refer to Neanderthal people, originates out of assumptions about the association between early humans and caves, most clearly demonstrated in cave painting or bench models.

Cavemen are frequently represented as living with dinosaurs in popular culture, despite the fact dinosaurs became extinct at the end of the Cretaceous period, some 65 million years before the emergence of the human species. One of the earliest portrayals of cavemen and dinosaurs together is D. W. Griffith's Brute Force, a silent film released in 1914, while more recent examples include the comic strip B.C. and the television series The Flintstones.

Basis of archetype[link]

Caveman-like Heraldic "wild men" were found in European and African iconography for hundreds of years. During the Middle Ages, these creatures were generally depicted in art and literature as bearded and covered in hair, and often wielding clubs and dwelling in caves. While wild men were always depicted as living outside of civilization, there was an ongoing debate as to whether they were human or animal^{[citation needed]}.

Cavemen are portrayed as wearing shaggy animal hides, armed with rocks or cattle bone clubs, unintelligent, and aggressive. The image of them living in caves arises from that fact that caves are where the preponderance of ritual paintings and artifacts from pre-historic cultures have been found, although this most likely reflects the degree of preservation that caves provide over the millennia rather than an indication of their typical form of shelter. Expressions such as "living in a cave" have become cultural metaphors for a modern human who displays traits of extreme ignorance or uncivilized behavior.

Stereotypes in culture[link]

In Sir Arthur Conan Doyle's The Lost World (1912) ape-men are depicted in a fight with modern humans. Edgar Rice Burroughs adapted this idea for The Land That Time Forgot (1918). A genre of caveman movies emerged, typified by D. W. Griffith's Man's Genesis (1912); they inspired Charles Chaplin's satiric take,^[1] in His Prehistoric Past (1914) as well as Brute Force (1914), The Cave Man (1912), and later Cave Man (1934). From the descriptions, Griffith's characters can't talk, and use sticks and stones for weapons, while the hero of Cave Man is a Tarzanesque figure who fights dinosaurs.

Depictions of the Paleolithic in the media[link]

In fiction, especially as pure entertainment or satire, cavemen are sometimes depicted as living contemporaneously with dinosaurs, a situation contradicted by archaeological and paleontological evidence which shows that non-avian dinosaurs became extinct 65 million years ago, at which time true primates had not yet appeared.

In popular culture, the comic strips B.C., Alley Oop and occasionally The Far Side and Gogs portray "cavemen" in that way. (Larson, in his The Prehistory of the Far Side, stated he once felt that he needed to confess his cartooning sins in this regard: "O Father, I Have Portrayed Primitive Man and Dinosaurs In The Same Cartoon".) The animated television series The Flintstones, a spoof on family sitcoms, portrays the Flintstones not in caves, but in 1950s–1960s ranch-style homes that suggested caves and had stone fittings.

Stereotypical cavemen are also often featured in advertising, including advertisements for Minute Maid. More recently, GEICO launched a series of television commercials and attempts at viral marketing, collectively known as the GEICO Cavemen advertising campaign, where GEICO announcers are repeatedly denounced by modern cavemen for perpetuating a stereotype of unintelligent, backward cavemen. The GEICO advertisements spawned a short-lived TV series called Cavemen.

The embedded lists in this article may contain items that are not encyclopedic. Please help out by removing such elements and incorporating appropriate items into the main body of the article. (February 2011)

Documentaries[link]

• Walking with Cavemen
• Walking with Beasts

Caveman characters[link]

• Alley Oop
• Anthro
• B.C.
• Captain Caveman
• Chuck Rock
• The Flintstones
• Gogs
• Land of the Lost (1974 TV series)
• Mightor
• Stig of the Dump
• The Resurrection of Jimber-Jaw
• Tor
• Unfrozen Caveman Lawyer, a Saturday Night Live sketch
• Yahoo in Gulliver's Travels
• The 2000 Year Old Man, a series of comedy skits by Mel Brooks and Carl Reiner comedy skit with both caveman and ancient history jokes

Movies[link]

• Man's Genesis, 1912
• Brute Force, 1914
• His Prehistoric Past, 1914 Charlie Chaplin silent film
• Three Ages, 1923 Buster Keaton silent film
• Flying Elephants, 1928 Laurel and Hardy silent film
• One Million B.C., 1940
• Mysterious Island (half a dozen films)
• Teenage Caveman, 1958 Roger Corman film and 2002 TV series
• Eegah, 1962
• One Million Years B.C., 1966
• It's About Time (TV series 1966-67)
• When Dinosaurs Ruled the Earth, 1970
• Planet of Dinosaurs, 1971
• The Land That Time Forgot, 1975
• The People That Time Forgot, 1977
• The Missing Link, 1980
• Caveman, 1981
• History of the World, Part I, 1981
• Quest for Fire, 1981
• Luggage of the Gods!, 1983
• Iceman, 1984
• The Clan of the Cave Bear, 1986
• Encino Man, 1992
• The Flintstones, 1994
• Encino Woman, 1996
• Bikini Cavegirl, 2004
• The Man From Earth, 2007
• Homo Erectus, aka National Lampoon's Stoned Age, 2007
• 10,000 BC, 2008
• Year One, 2009

Novels[link]

• The Story of Ab, 1897
• The Village in the Treetops, 1901
• Quest for Fire, 1911
• The Lost World, 1912
• The Cave Girl, 1913
• The Land That Time Forgot 1918
• Dian of the Lost Land, 1935
• The Inheritors, 1955
• Dance of the Tiger, 1980
• Earth's Children series
  • The Clan of the Cave Bear, 1980
  • The Valley of Horses, 1982
  • The Mammoth Hunters, 1985
  • The Plains of Passage, 1990
  • The Shelters of Stone, 2001
  • The Land of Painted Caves, 2011
• Eden series
  • West of Eden, 1984
  • Winter in Eden, 1986
  • Return to Eden, 1989

See also[link]

• Cro-Magnon
• Human evolution
• Neanderthal
• Paleolithic
• Neanderthals in popular culture

References[link]