You know, even though Kaliman - The Incredible Man is considered the best Kaliman movie (and made more money), I actually prefer the sequel, Kaliman in the Sinister World of Humanon (How’s that title!).

The first one is kinda interesting in a sense of how a mexican 70′s mega production looks (the entire film features a international cast and is filmed in Cairo, even with some scenes shot at the feet of the pyramids and the sphinx!). But is overall rather boring, it doesn’t really get to that cheesy b-movie level, Kaliman never shows his full potential, and they throw in there a unnecessary plot of aliens that wasn’t in the original radio serials and comics, it was added do to the popularity of Chariots of the Gods (like at some point Kaliman literary tells to a egyptian guy that his ancestors came from “chariots from the sky” while pointing at some hieroglyphics).

The second one, on the other hand, is some good ol’ cheesy movie! It’s set in Rio de Janeiro, so you get to see this guy in superhero costume alongside his sidekick in (then) modern day Rio.

By the way, the first nearly 10 minutes is just them visiting spots in Rio, and it’s pretty hilarious seeing them completely out of place from the setting.

We also see more of Kaliman’s weirdest powers, like seeing the last thing a person saw before dying by touching their dead body. There are more fights in here than in the first one, and actor Jeff Cooper comes from the William Shatner school of fighting, so you’ll have fun looking at him.

The plot itself is also better too, because there are no forced aliens, and the villain is a nazi who has been experimenting with natives. You’ll never go wrong with natives (and Kaliman) beating up nazis at the end.

(Yes, that’s Humanon. Of course he would look like a KKK member with nazi schemes.)

I’m not sure if fan-sub versions of them exist, but if you are curious to check them out the full movies are on YouTube.


I so love
these hills;
these wild and soft
green rivers
ensouling the land.

These harsh mountain
and the forests;
autumn mushrooms,
valleys of roses
and of snow.

Orchards of apples
and plums,
the cherry trees;
their empty branches’
scrawny hieroglyphics
across the fields,
the winter sky.

The life-brown earth
resonant with promise;
a creative force
with such profundity
that I weep now
with the memory of days

when I could
touch it with my feet
and plunge my hands
into the belly
of its soil.

can take from me
the sensual nostalgia
for that time,

of its future

that I now live through

and alone;

to see Light
through these
unblindfold eyes.

Rosemary Menzies 

The humanitarian and poet Rosemary Menzies wrote this poem during her stay in then war-torn Bosnia and published it in her book of poetry dedicated to Bosnian people in 1998. Having come across it now, I am sure that the author would not mind me dedicating this poem in her name to all the refugees that live in the world today. 


James Basire, egyptian & greek script of the Rosetta Stone, 1810. Engraving. Society of Antiquaries of London. Via NYPL

The Rosetta stone is dated 196 BC, made in Memphis, Egypt. The stone was brought to England in 1802 during the Napoleonic Wars and has since then been on display in the British Museum. It shows three scripts with the same text: the code of the hieroglyphs could be cracked in 1822.


Direct from her role in Romeo and Juliet on Broadway, Condola Rashad has joined Fox’s upcoming drama series HIEROGLYPH.

HIEROGLYPH is set in ancient Egypt and centers on a thief who is taken from prison to serve the Pharaoh, played by Reece Ritchie (who describes himself as “mixed”).
The 13 episode series combines fantasy and reality and involves sorcerers, the criminal underground, romantic scandals and more.

Rashad will play Nefertari, the Pharaoh’s beautiful half-sister.

The series was created by Travis Beacham. He will produce alongside Peter Chernin, Katherine Pope and Miguel Sapochnik, who is set to direct the pilot episode.

Read more about Condola Rashad and HIEROGLYPH  at www.broadwayworld.com

The Rosetta Stone

A valuable key to deciphering ancient Egyptian hieroglyphs, the inscription on the Rosetta Stone is a decree passed by a council of priests. It is one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation (in 196 BC).

In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government’s control. Before the Ptolemaic era (before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from earlier times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured.

The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense.

Soon after the end of the 4th century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the 19th century, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young (1773–1829), an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy.

The French scholar Jean-François Champollion (1790–1832) then realised that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Champollion made a crucial step in understanding ancient Egyptian writing when he pieced together the alphabet of hieroglyphs that was used to write the names of non-Egyptian rulers. He announced his discovery, which had been based on analysis of the Rosetta Stone and other texts, in a paper at the Academie des Inscriptions et Belles Lettres at Paris on Friday 27 September 1822. The audience included his English rival Thomas Young, who was also trying to decipher Egyptian hieroglyphs. Champollion inscribed this copy of the published paper with alphabetic hieroglyphs meaning ‘à mon ami Dubois’ ('to my friend Dubois’). Champollion made a second crucial breakthrough in 1824, realising that the alphabetic signs were used not only for foreign names, but also for the Egyptian language and names. Together with his knowledge of the Coptic language, which derived from ancient Egyptian, this allowed him to begin reading hieroglyphic inscriptions fully.

Soldiers in Napoleon’s army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon’s defeat, the stone became the property of the British under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found.

The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important’ objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway 50 feet below the ground at Holborn.

Find out more in this BBC podcast about the Rosetta Stone.

Nobody really knows how the alphabetical order came to be. Some speculate it was adapted from a series of ancient Egyptian hieroglyphics, but while linguists know certain sections of it (including a,b,c,d,e,f) have stayed the same since at least the 8th century BCE, why they originally ended up in that order is still a mystery. Source


The pyramid texts of Teti I’s pyramid.

Teti I (2345–2333 BCE) was the first king of Egypt’s 6th dynasty, and was buried at Saqqara. Preserved within his pyramid are some excellent examples of pyramid texts. Pyramid texts are ancient religious texts from Egypt’s Old Kingdom, and are possibly the oldest known religious texts in the world.

The spells (or “utterances”) written are primarily concerned with protecting the remains of the king, reanimating his body after death, and aiding him in ascending to the heavens.

The following is a translated section from the pyramid texts of Teti I’s pyramid (‘Utterance 373’ via: Miriam Lichtheim, Ancient Egyptian Literature, vol 1):

“Oho! Oho! Rise up, O Teti!

Take your head, collect your bones,

Gather your limbs, shake the earth from your flesh!

Take your bread that rots not, your beer that sours not,

Stand at the gates that bar the common people!

The gatekeeper comes out to you, he grasps your hand,

Takes you into heaven, to your father Geb.

He rejoices at your coming, gives you his hands,

Kisses you, caresses you,

Sets you before the spirits, the imperishable stars…”

Photos courtesy & taken by kairoinfo4u.

Ancient Egyptian works to be published together in English for first time

Ancient Egyptian texts written on rock faces and papyri are being brought together for the general reader for the first time after a Cambridge academic translated the hieroglyphic writings into modern English.

Until now few people beyond specialists have been able to read the texts, many of them inaccessible within tombs. While ancient Greek and Roman texts are widely accessible in modern editions, those from ancient Egypt have been largely overlooked, and the civilisation is most famous for its monuments.

The Great Pyramid and sphinx at Giza, the tombs in the Valley of the Kings and the rock-cut temples of Abu Simbel have shaped our image of the monumental pharaonic culture and its mysterious god-kings.

Toby Wilkinson said he had decided to begin work on the anthology because there was a missing dimension in how ancient Egypt was viewed: “The life of the mind, as expressed in the written word.” Read more.