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Archive for Upper Egypt
Where is the Mummy of Ancient Egyptian Queen Amenirdis I – Kushite Princess of Nubia – XXV Dynasty
Posted in Adoratrice, Adoratrix, AEMES, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis Mortuary Temple, Amenirdis the Elder, Amenirdis the Great, AMES, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Amunirdis was Buried, Ancient Egypt, Aqaluqa, Archaeologist, Bodily Remains, British Museum, Burial Chamber, Divine Adoratice of Amun, Divine Adoratrices, Divine Votaress, Divine Wife, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologist, Egyptologists, Egyptology, Find Amenirdis, Find Amunirdis, Funerary Goods, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Hatnefrumut, Inner Chapel, Interred, Kashta, Kush, Kushite, Kushite Princess of Nubia, Medinet Habu, Mortuary Temple, Mummies, Mummification, Mummified, Mummified Remains, Mummy of Amenardis, Mummy of Amenirdis, Mummy of Amunirdis, Museums, Napata, Nubian, Nubian Queen, Peshuper, Piankhi, Piye, Preservation, Priest, Princess of Nubia, Private Collections, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Restoration, Scribe, Shabaka Neferkare, Shabaka Stone, Shabaqo, Taharqa, Taharqo, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXV, XXV Dynasty with tags Adoratrice, Adoratrix, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis Mortuary Temple, Amenirdis the Elder, Amenirdis the Great, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Amunirdis was Buried, Ancient Egypt, Aqaluqa, Archaeologist, Bodily Remains, British Museum, Burial Chamber, Divine Adoratice of Amun, Divine Adoratrices, Divine Votaress, Divine Wife, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologist, Egyptologists, Egyptology, Find Amenirdis, Find Amunirdis, Funerary Goods, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Hatnefrumut, Inner Chapel, Interred, Kashta, Kush, Kushite, Kushite Princess of Nubia, Medinet Habu, Mortuary Temple, Mummies, Mummification, Mummified, Mummified Remains, Mummy of Amenardis, Mummy of Amenirdis, Mummy of Amunirdis, Museums, Napata, Nubian, Nubian Queen, Peshuper, Piankhi, Piye, Preservation, Priest, Princess of Nubia, Private Collections, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Restoration, Scribe, Shabaka Neferkare, Shabaka Stone, Shabaqo, Taharqa, Taharqo, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXV, XXV Dynasty on January 29, 2009 by www.Amunirdis.net
Where is the Mummy of Ancient Egyptian Queen Amenirdis I – Kushite Princess of Nubia – XXV Dynasty?
The belongings and funerary goods of Amenirdis I are spread around the globe both in museums and, sadly, in private collections away from public view. She was a very important woman in ancient Egypt – as were all God's Wives of Amun and Divine Votaresses – and possessed a considerable amount of 'personal' and mortuary goods. In antiquity many items will have disappeared in to the mists of time and as recently as the twentieth Century, Amenirdis' possessions found their way in to museums, private collections and the like – as one would expect.
The vast majority of sources state something akin to the following:
"Upon her death, Amunirdis I was buried in a tomb in the grounds of Medinet Habu."
That just doesn't feel 'right' to me and there have been a number of reports of the mummy of Amenirdis I being found since 2001.
I live within a mile of that impressive chapel and in early 2003 I spoke to an eminent archaeologist and Egyptologist from the British Museum in Amenirdis' chapel in Medinet Habu. Apparently the mummy of Amenirdis I has been found, but not in Medinet Habu and the BM archaeologist was unable to tell me where the mummy was found or where it had been moved to.
I would like to know that the mummy of this Royal Queen is intact and, hopefully, in good condition but no-one seems to have any answers regarding the whereabouts of Amenirdis I's remains. Why is that?
If a museum has the remains kept in a safe environment then I would be very happy to know that. If a private collection has obtained the mummy I would hope that an expert has been consulted to aid in preservation.
As much as I would like to pay my respects to Amenirdis I, I don't think that is likely but just to know that all is, hopefully, well would be wonderful for me personally as I have an incredible interest, as must be obvious from the AI web site and this blog.
The 'inner chapel' or 'burial chamber' – supposedly where Amenirdis was interred – a few metres from the glorious black libation table in Medinet Habu had, until 2001, a dirt floor and a rope loosely tied across. The guards/guides would remove the rope from time-to-time and I have previously sat on the dirt floor contemplating the whereabouts of Amenirdis I's remains and whether I was in fact sat on top of them!
The chapel of the Divine Adoratrice Amenirdis I has changed – the floor is now made of paving slabs, with a concrete-like mix holding them together. Replacing the rope is a basic wooden frame which is occasionally removed by the guards or guides. The change in the floor took place in 2001, I seem to remember. I do not understand why the floor was replaced – not least because public admittance should not be permitted there.
Was the floor of the 'burial chamber' excavated since the 1990s? What was found? I would dearly love to know.
The rest of this small – but incredibly impressive chapel – is in need of further restoration and preservation and it has received considerable attention (to my knowledge) since the late 1990s – the roof is now held in place with metal girders and efforts are obviously being made to keep the chapel standing, thankfully. That again leaves me with a question – why replace the floor where the public are not really permitted? The floor around the outer chapel walls is very uneven and hasn't even been cleaned, let alone replaced – sand is building up against the edges of the wall reliefs in some places and yet the 'inner chapel' or 'burial chamber' is as new as it could be. Strange.
I have plagued archaeologists and Egyptologists regarding the whereabouts of the remains of Amenirdis and I really would like to know that her remains are in good hands and 'safe'. I don't want – or need – to know who has ownership or possession but I would be very grateful to anyone who can tell me if the mummy is intact and in safe hands please.
Please feel free to e-mail me with any information and if it must remain confidential then so be it.
My e-mail address is: Research@Amunirdis.net
The Hand of God – Gods Wives of Amun – Ancient Egypt – Karnak Temple Complex
Posted in Abode of Amun, Adoption, Adoratrice, Adoratrix, AEMES, Ahmose, Ahmose Nefertari, Akaluka, Akhamenerau, Amen, Amen-Ra, Amenardis, Amenirdis, Amenirdis the Elder, Amnirdis, Amon, Amonardis, Amonirdis, Amoun, Amun, Amun-Ra, Amunardis, Amunirdis, Ancient Egypt, Ancient Egyptian, Ankh, Ankhnesneferibre, Apries, Atum, Black Pharaohs, cartouche, ceremonies, Chantress, Chantress of Amun, Chief Priestess, Co-Regent, consort, Coronation Name, creation myth, De Ese Hebsed, Divine Adoratice of Amun, Divine Adoratrice, Divine Adoratrice of Amun, Divine Adoratrices, Divine Adoratrix, Divine One, Divine Votaress, Divine Wife, Doorkeeper in the Temple of Amun, Dynastic, Dynasty, Egypt, Egyptian Goddess, Egyptian History, Egyptian Queen, Egyptological Research, Egyptologists, Egyptology, EgyptSites, falcon tail feathers, False Door, First Prophet, Flagellum, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Great Royal Wife, Harwa, Hatshepsut, Heka Djet, Henuttawy, Hieroglyphic, Hieroglyphics, Hieroglyphs, High Priest of Amun, High Priestess, High Priests, Inner Abode of Amun, Ished Trees, Isis, Karnak, Karnak Temple, Kashta, Khonsu, King Kashta, Kush, Kushite, Kushite Queen, Lady of the House, Late Period, Lord of Life, Lord of Thebes, Luxor, Luxor Egypt, Maat, Maatkare, Menat, Middle Kingdom, Min, Misr, Museum, Mut, Neb Ankh, New Kingdom, Nitocris, Nitoqret, Nubian, Nubian King, Nubian Queens, Oracle, Osiris, Osiris Hall, Osorkon, Peshuper, Pharaoh, Pharaohs, Pinudjem, Precinct of Amun, Prenomen, Priest, Princess of Nubia, Psamtik, Ptah, Ptolemaic Temple, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, religious ceremonies, Research, royal ladies, Royal Uraeus, Ruler of Eternity, Saite, Saite Dynasty, Scribe, Shabaka, Shabaka Neferkare, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Sheshonq, Shrine, shwty plumes, Sistrum, Sole wife of the God, Taharqa, Taharqo, Takelot, Tanis, Tantamani, Temple of Amun, Temple of Khonsu, Temple of Ptah, Temples, Theban, Thebes, Third Intermediate Period, Tiye and Nefertari, Tomb, Tombs, Twenty Fifth Dynasty, Two Lands, Upper Egypt, Uraeus, Votaress, vulture headdress, Wahibre, Waset, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, www.EgyptSites.co.uk, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty with tags Abode of Amun, Adoratrice, Ahmose, Ahmose Nefertari, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankh, Ankhnesneferibre, Apries, Atum, Black Pharaohs, cartouche, ceremonies, Chantress, Chantress of Amun, Chief Priestess, Co-Regent, consort, Coronation Name, creation myth, De Ese Hebsed, Divine Adoratice of Amun, Divine Adoratrice, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, falcon tail feathers, False Door, First Prophet, Flagellum, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Great Royal Wife, Harwa, Hatshepsut, Heka Djet, Henuttawy, High Priest of Amun, Inner Abode of Amun, Ished Trees, Karnak, Karnak Temple, Kashta, Khonsu, King Kashta, Kush, Kushite, Late Period, Lord of Life, Maat, Maatkare, Medinet Habu, Memphis, Menat, Middle Kingdom, Min, Montuemhet, Museum, Mut, Napata, Nasalsa, Neb Ankh, Necho, New Kingdom, Nitocris, Nitoqret, Nubian, Nubian King, Nubian Queens, Oracle, Osiris, Osorkon, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Pinudjem, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Ptah, Ptolemaic Temple, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, religious ceremonies, royal ladies, Royal Uraeus, Ruler of Eternity, Saite, Saite Dynasty, Scribe, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Sheshonq, Shrine, shwty plumes, Sistrum, Sole wife of the God, Taharqa, Taharqo, Takelot, Tanis, Tantamani, Temple of Amun, Temple of Khonsu, Temple of Ptah, Thebes, Third Intermediate Period, Tiye and Nefertari, Twenty Fifth Dynasty, Upper Egypt, Uraeus, vulture headdress, Wahibre, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty on January 29, 2009 by www.Amunirdis.net
"I had recently become very interested in the religious role of 'God's Wife of Amun' so I set off for the northern part of Karnak to investigate their shrines. At least this was away from the more crowded areas of the temples, which became more deserted as I walked past the open air museum on the path towards the Temple of Ptah. There are several chapels of the Gods' Wives on the left hand side of the path, in various states of ruin, but some still had some interesting reliefs.
During the Late Period the wives of kings are rarely represented, but in Thebes, the female office of the 'God's Wife of Amun', or 'Divine Adoratrice' is often seen as supremely important, a figure holding a position of power and wealth even greater than that of the High Priest. The title of 'God's Wife' can be traced right back to the Middle Kingdom, but the office became more prominent at the beginning of the New Kingdom, with Ahmose-Nefertari, wife of Ahmose I, whose donation stele found at Karnak, tells us much about her role. At that time the title was usually given to the wife of the reigning king, her names were written in a cartouche and she was often succeeded by her daughter. Many royal ladies of the New Kingdom were associated with this office, at least nominally, including Queens Hatshepsut, Tiye and Nefertari.
Duties of the God's Wife were essentially religious, associated with musical ceremonies and titles such as 'Chantress of the Abode of Amun', and often with fertility connotations. Her function was to play the part of the consort of the god Amun in religious ceremonies, stressing the belief that kings were conceived from the union between Amun and the Great Royal Wife. The title 'The Hand of the God' was also sometimes used when referring to her relationship to Atum in a creation myth – Atum's hand being regarded as female. The regalia changed through Dynasties XVIII to XX, but usually included the vulture headdress with uraeus and often the shwty plumes, or falcon tail feathers worn by Amun and Min, or sometimes the sundisc and Hathor horns on a modius, a sort of circular crown. In the later new Kingdom a pleated robe with a red sash replaced the earlier slim sheath dress. Her insignia included the sistrum, menat, a variety of musical instruments and the flagellum.
From Dynasty XXI onwards it was always the king's unmarried daughter or sister who was given the title of 'God's Wife' and the role became increasingly important. Maatkare, daughter of Pinudjem I is depicted as God's Wife in the Temple of Khonsu at the southern side of Karnak. Her titles were 'Divine Adoratrice, sole wife of the god'. Henuttawy, daughter of Pinudjem II is also depicted here. It was from this time on that the God's Wives adopted a coronation name as well as a birth name. During the reigns of the Libyan kings, their sons were given the office of High Priest of Amun and their daughters the title of 'God's Wife of Amun'. Some of the daughters of Libyan Chiefs and Egyptian elite were called 'Chantress of the Inner Abode of Amun' and presided over a college of priestesses, which seems to have been a kind of upper class convent.
At Karnak, several chapels were dedicated to Osiris and to Amun who was, by the Late Period, associated with him. They were mostly built during the period when Nubian kings ruled at Thebes and were dedicated by the reigning 'God's Wives'. The first shrine I came to on the northern path, the chapel of Osiris Neb-ankh (Lord of Life) dating to the Dynasty XXV reign of the Nubian King Shabaka, is in a fairly ruinous condition. Although there is now little remaining of the pylon entrance, courtyard and two inner chambers, the cartouches of Shabaka and the God's Wife Amenirdis (I) can still be seen on the entrance.
The second structure here is better preserved with some good reliefs. This is the (earlier) chapel of Ankhnesneferibre who was a daughter of King Psamtik II of the Saite Dynasty XXVI and sister of King Wahibre (Apries). We know from surviving texts that this lady arrived in Thebes at only seven months old (in 595 BC) and was eventually installed as 'High Priest' of Amun. The next structure is her later chapel which is larger still and originally had a four-columned hall and a sanctuary at the rear. Parts of the gates survive and reliefs of Ankhnesneferibre before various deities can be clearly seen, including cartouches of Kings Ahmose II and Psamtik III. In one of the reliefs she is followed by her chief steward and fan-bearer who is named here as Sheshonq. There are also some lovely depictions of a lion-headed cobra and a strange underworld deity with two duck's heads.
Next to Ankhnesneferibre's chapel is another tiny shrine, also a chapel of Osiris Neb-ankh. This is like a little dolls-house, dedicated by the God's Wife Shepenwepet (II), a daughter of King Taharqa of Dynasty XXV. Said to be perhaps the smallest religious monument in Egypt with a doorway only a little over a metre high leading to a tiny inner chamber, it is difficult to imagine any ceremony taking place here. There are some superb deeply-carved reliefs inside this little shrine with cartouches of Shepenwepet (II) and her sister the 'God's Wife' Amenirdis, (II) as well as a cartouche inscribed for Osiris Neb-ankh.
Bypassing the Temple of Ptah I walked over to the next Osiris structure, an enigmatic little chapel, now just a small single chamber, dedicated by Amenirdis to Osiris De-ese-hebsed, also dating from Dynasty XXV. There were two God's Wives named Amenirdis, the first a daughter of King Kashta and the second, who constructed this monument, was daughter of the Nubian King Taharqa. I had already seen the chapels at Medinet Habu belonging to this royal lady. Moving on I passed the scant remains of a Ptolemaic Temple of Osiris, no more than a lintel and two door-jambs.
Against the eastern enclosure wall is the largest remaining and one of the earliest chapels dedicated by the God's Wives at Karnak. This is the Temple of Osiris Heka-djet ('Osiris, Ruler of Eternity') which was built by the Libyan king Osorkon III and his son, the High Priest of Amun, Takelot III of Dynasty XXIII. This structure has high walls and I had to find a guard to let me inside through the locked door. Though there was once an entrance gate and a courtyard, these are now gone and I went straight into the first of three small rooms, the two innermost rooms being the earliest part of the temple. High on one wall there is a lovely relief of Shepenwepet (I) presenting an image of Ma'at to Amun and receiving a menat necklace from the goddess Isis, while her successor, Amenirdis (I), receives an ankh from Amun and Mut. There are some very unusual reliefs in this temple, including the only known depiction of a God's Wife, Shepenwepet, wearing the double crown of Upper and Lower Egypt, complete with royal uraeus, normally a strict prerogative of the pharaoh. Another beautiful and unique dual-scene shows the two rulers, Osorkon and his co-regent Takelot, back to back under two ished-trees, while the gods write the kings' names on the leaves. There is also an unusual series of seven false doors each one carved inside the other. I loved this little temple, it was just a pity that the combination of shadows and shallow reliefs did not offer a good opportunity for photography."
http://egyptsites.wordpress.com/2008/04/29/the-hand-of-god/
Reproduced courtesy of http://www.EgyptSites.co.uk/ with thanks.
Chapels of the Gods Wives at Medinet Habu by www.EgyptSites.co.uk
Posted in Akhamenerau, Amen, Amenirdis, Amon, Amonardis, Amonirdis, Amoun, Amun, Ancient Egypt, Ankhnesneferibre, Assyrian, Deir el-Bahri, Divine Wife, Dynasty, Egypt, EgyptSites, First Prophet, God, Goddess, Habu, Harwa, Karnak, Kush, Luxor, Medinet, Medinet Habu, Memphis, Montuemhet, Mortuary Temple, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Piankhi, Pie, Piye, Priest, Psammetik, Pye, Ramesses, Sais, Scribe, Shabaka, Shabaqo, Shabitko, Shepenupet, Shepenwepet, Taharqa, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Upper Egypt, Uraeus, Wadi Hammamat, West Bank, www.EgyptSites.co.uk, XXIII, XXIV, XXV, XXVI with tags Akhamenerau, Amen, Amenirdis, Amon, Amonardis, Amonirdis, Amoun, Amun, Ancient Egypt, Ankhnesneferibre, Assyrian, Deir el-Bahri, Divine Wife, Dynasty, Egypt, EgyptSites, First Prophet, God, Goddess, Habu, Harwa, Karnak, Kush, Luxor, Medinet, Medinet Habu, Memphis, Montuemhet, Mortuary Temple, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Piankhi, Pie, Piye, Priest, Psammetik, Pye, Ramesses, Sais, Scribe, Shabaka, Shabaqo, Shabitko, Shepenupet, Shepenwepet, Taharqa, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Upper Egypt, Uraeus, Wadi Hammamat, West Bank, www.EgyptSites.co.uk, XXIII, XXIV, XXV, XXVI on January 29, 2009 by www.Amunirdis.net
Chapels of the God's Wives – Medinet Habu – Mortuary Temple of Ramesses III, West Bank, Luxor
"It now seems to be a forgone conclusion that when we're on the West Bank, we will end up at Medinet Habu and today was no exception. I wanted a last look at the temple and went to take more photographs in the shrines of the God's Wives of Amun, the Divine Adoratirix that have become a study theme for me on this visit.
There are four chapels at Medinet Habu dedicated to the God's Wives. The earliest belongs to Shepenwepet I who was appointed by her father Osorkon III during the last years of Theban independence before full Nubian control. Little is left of her chapel, but the burial shaft still gives access to vaulted chambers below – not open to the public however. The next shrine is that of Amenirdis I, the successor to Shepenwepet and daughter of Nubian King Kashta. This is the best-preserved chapel and has many interesting reliefs, though it is very dark inside. A forecourt fronts Amenirdis's chapel, the four columns now reduced to stumps, but there is still a black granite offering table in situ. Inside the shrine, a free-standing sanctuary surrounded by a corridor whose walls are adorned with excerpts from the Pyramid Texts and reliefs of Amenirdis I and her successor Shepenwepet II (who built this shrine for her aunt), before various deities. The walls are now blackened but little square openings in the roof send atmospheric shafts of light down onto the scenes. The workmanship is really beautiful here.
In due time Shepenwepet II adopted Amenirdis II, a daughter of King Taharqa, as her successor, but her rule was ill-fated as by then the Nubian Dynasty XXV came to an end with the Assyrian invasions of Thebes. The Theban priesthood was forced to accept an heiress from the Saite dynasty of the Delta and it was Psamtik's daughter Nitocris who became the next God's Wife of Amun, after being adopted by both Shepenwepet II & Amenridis II. It was Nitocris who completed the chapel for Shepenwepet II after her death, adding to the burial chambers to provide for herself and her birth mother Mehytenweskhet. The fourth chapel is now gone, but is thought to have belonged to Ankhnesneferibre, a daughter of King Psamtik II, who was the last holder of the office of Divine Adoratrice at Thebes and who also took the title of High Priest of Amun. Her beautiful sarcophagus, found in a shaft at Deir el-Medina after being re-used during Roman times, is now in the British Museum.
Over the doorways to these chapels is a kind of threat, written as an 'Appeal to the Living', which consists of words to be uttered by people passing by. The text more or less states that anyone not participating in the mortuary cult by repeating the prayers will be cursed by the 'Mistress of the West' who will cause sickness to their families. I always bear this in mind, saying a little prayer of my own for the souls of the powerful ladies once buried here."
http://egyptsites.wordpress.com:80/2008/05/27/chapels-of-the-gods-wives/
The Divine Adoratrices By Patricia Blosser www.KingTutOne.com
Posted in Adoratrice, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankhnesneferibre, Assasif, Assyrian, Black Pharaohs, Chief Priestess, Deir el-Bahri, Divine Adoratice of Amun, Divine Adoratrice, Divine Adoratrices, Divine Adoratrix, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, el-Assasif, First Prophet, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Karnak, Karnak Temple, Kashta, King Kashta, Kush, Kushite, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Patricia Blosser, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Sais, Scribe, Scribe of Amenirdis, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Taharqa, Taharqo, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, Uraeus, Wadi Hammamat, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, www.KingTutOne.com, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty with tags Adoratrice, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankhnesneferibre, Assasif, Assyrian, Black Pharaohs, Chief Priestess, Deir el-Bahri, Divine Adoratice of Amun, Divine Adoratrice, Divine Adoratrice of Amun, Divine Adoratrices, Divine Adoratrix, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, el-Assasif, First Prophet, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Karnak, Karnak Temple, Kashta, King Kashta, Kush, Kushite, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Patricia Blosser, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Sais, Scribe, Scribe of Amenirdis, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Taharqa, Taharqo, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, Uraeus, Wadi Hammamat, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, www.KingTutOne.com, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty on January 29, 2009 by www.Amunirdis.net
The Divine Adoratrices
By Patricia Blosser
In 656 BC, or regnal year 9, first month of Akhet, day 28, of the Sais King Psamtek I, his young daughter Nitocris, is recorded as leaving his private apartments in Sais. Dressed in the finest of linen garments and adorned with new turquoise she is headed for her own destiny. Her father had arranged for her to marry no other than Amun, the great god of Thebes(1). She left her father's city in a great fleet sailing up the Nile to Thebes. It isn't known how old she was at the time of her marriage, but she lived another 70 years (2) in Thebes as the Divine Adoratrice, the god Amun's wife. She would s
The office of the Divine Adoratrice, the God's Wife had evolved greatly. Since the day Ahmose, first Pharaoh of the 18th dynasty had first made his wife Ahmose-Nefertari the god's wife of Amun at Karnak(3). At this remote time Ahmose-Nefertari, the god's wife, wasn't the Divine Adoratrice. It would be several centuries yet, before the God's wife took the office of the "adoratrice of the god"(4) and combined it with her royal office. Until that time this secondary office for women in the Temple of Amun at Karnak, was held by well-born noble women. The God's Wife position was a priestly office at first held by non-royal ladies of the Middle Kingdom(5). From Ahmose-Nefertari on it would be an office held only by women of the royal house. Ahmose endowed the position with lands and entitlements, making it a wealthy position as well as a religious office. During Ahmose-Nefertari's occupation of the office, its title the God's Wife appears to be the title she preferred over the usual titles. She was entitled to use such as King's wife, King's principle wife, or even King's mother. From Karnak Deir el Bahri, Abydos, and Serabit el Khadim in Sinai there are a number of ritual offerings dedicated by Ahmose-Nefertari. While other Queens and Kings dedicated similar objects, chronologically and numerically Ahmose-Nefertari heads the list and perhaps sets the trend. She opened quarries along with her husband and was asked for her approval on some of his building projects(6). Such participation of a queen is unique in the records.
Queen Hatshepsut, was the third holder of this important religious office, again the god's wife was the title she too, preferred over other titles she was able to use. It is believed by modern scholars that it was her position as 'God's Wife' that enable her to take up the titles and offices of King during her step-son's minority(7). After she did become, Pharaoh she passed her role as god's wife to her daughter Neferura(8). In the modern belief, that Neferura as the god's wife assumed the role in temple rites that traditionally fell to a senior ranking royal woman. Roles she most likely fulfilled during her mother's Kingship. Neferura's preference of her title 'the god's wife' is the third such preference of that title, by a royal woman over the more traditional titles such as the King's daughter, or even King's wife. It is as the God's Wife that we find her, following her dressed as King mother, into the temple of Amun at Karnak. Whereas she is dressed in a simple sheath dress, sometimes tied at the waist unlike most such dresses, with a short wig and a thin fillet knotted at the back of the head the loose ends hanging down(9).
The office and title of God's Wife, while not disappearing began a period of eclipse under the succeeding rule of Thutmose III, his son Amenhotep II, and grandson Thutmose IV. Under these three rulers there were four more god's wives of Amun at Thebes. Aset, the mother of Thutmose III, and Meritamun his daughter held it. During the reign of Amenhotep II his mother Meritra, is given the title. While Tiaa, the mother of Thutmose IV is the last named god's wife. In the reign of Amenhotep III, there is at one point a god's wife but she is unnamed and after her the office disappears until the 19th dynasty(10). While the title disappears in the reign of Amenhotep III and his immediate successors, it would be incorrect to assume, that the power and statue of the King's principle wife suffered any lost. In fact, with the advent of Amenhotep III's queen, Tiye we see the power of the Queen rise to an equality that would have been familiar to Queen Ahmose-Nefertari back at the start of the dynasty. This was true as well with Akhenaten's queen, Nefertiti. It is only after the death of Tutankhamun that we see the role of queens again fading into the background. Until Ramesses II once again, brings his principle wife Nefertari with a cult along side his at Abu Simbel(11). By this time, the title god's wife is again being given to queens' married to Kings, but it does not return to a position of power until much later.
In the mid-20th dynasty while Egypt began it's post empire decay, as the power of the Chief Priest of Amun grew thorough out the nation. Ramess VI made his daughter Isis, the god's wife of Amun at Thebes but this attempt of royal control was not successful(12). The country continued to decline, grave robbery of the Valley of the Kings and even the Queens grew at an alarming speed. The beginning of the 21st dynasty was beset with reburials of the ancient Kings and Queens. Into this came the Chief Priest of Amun at Thebes Pinudjem I, married to a daughter of Ramess XI. In the sixteenth year of Smendes, Pinudjem I(13) adopted royal titles and wrote his name in a cartouche and passed his office of Chief Priest of Amun to a son. He named his virgin daughter Maatkare, to the post of god's wife of Amun at Thebes. Maatkare, combined the roles of God's Wife and chief of the priestesses of Amun, in one title: the Divine Adoratrice from this time on the position was held by virginal daughters of the royal house who selected their successor by adoption(14). At one point, the burial remains of this Divine Adoratrice was thought to provide proof that the office wasn't virginal in reality, because found with her remains was another smaller bundle of remains thought to be her child. However, as examination proved it was actually a monkey's remains not a child. This finding restored both the honor of the Divine Adoratrice Maatkare, and the office she held(15).
Her successor isn't known and might have been a member of the 22nd dynasty Libyan royal house. The next known Divine Adoratrice was Karomama, the granddaughter of Osorkon I(16). Her successor apparently was taken from the 23rd dynasty, another Libyan royal house and was Shepenwepet I, sister of Takelot III, the children of Osorkon III. Together this sister and brother shared the privileges of rule over Thebes. She appears to have taken over the position of chief priest that her brother had given up to ascend to the throne. While along with her brother and their father, she appears on the temple walls of Osiris heka-djet ('lord of eternity') at Karnak(17). It wasn't long after her brother's death, and the short succession of his heir. That Pianky the Kushite King began his conquest of Egypt from the southern boarders of Egypt. Shepenwepet I would adopt this foreign King's sister as her heir and with that adoption. Pianky's control over Upper Egypt was cemented as he continued his conquest of Middle and Lower Egypt(18.
In this Kushite Dynasty of the 25th, the role of the Divine Adoratrice, the maiden princess of the royal house, dedicated to Amun was equal to that of a royal governor in Thebes(19) . Considering that Pianky was busy most of the time with his conquest of Lower Egypt, and then his brother Shabak, the first Pharaoh of the 25th Dynasty consolidating his rule over the rebellious northern Egypt. It was up to their female family members to control Thebes. This, Amenirdis I(20)did, as the adopted daughter and heir of Shepenwepet I.
Amenirdis I maintained the secular power of Amun's chief priest, even after her brother Shabak revived the position for a son of his. It had remained vacant since Takelot III had given it up to become Pharaoh(21). She under took the building of her own mortuary chapel and tomb for herself within the temple enclosure at the 18th dynastic temple at Medinet Habu(22). She ruled Thebes into the reign of Pianky's son Sebitku, when her adopted daughter Shepenwepet II, the daughter of Pianky succeeded her.
Shepenwepet II raised, along with another of her brothers Taharqa, a chapel to Osiris, Lord of Life, and another one to Osiris, Lord of Eternity at the temple at Karnak. Her building achievements continued with other sacred edifices in the Theban region. She adopted as her successor her niece, the daughter of Taharqa, who took the name Amenirdis II. Amenirdis II often appears next to her aunt in reliefs at Thebes, like a co-regent(23).
Assurbanipal, King of Assyria in 663 B.C.E. resumed Assyria's attacks on Egypt. He conqueror Memphis and even reached Thebes sacking it. Despite this treatment Upper Egypt refused to accept Assyrian rule and continued support for the Kushite Pharaoh Tantamani, who had fled on to Kush. This state of affairs continued, until the Sais King Psamtek I 26th dynasty, given his power by the Assyrians, threw off the Assyrian yoke once and for all pushing them out of Egypt in 655 B.C.E.(24) shortly, after reuniting Egypt. With his daughter's adoption, by the last Kushite Divine Adoratrice Amenirdis II in Thebes. At that time the elderly Shepenwepet II was still very much alive and had approved the adoption of Nitocris, by her own adopted daughter Amenirdis II. It was the first time in the history of the Divine Adoratrice, that there were three such ladies in Thebes.
Nitocris I lived and ruled in Thebes for another 70 years after her arrival in Thebes. Her own successor Ankhnesneferibre, daughter of Psamtek II mounted the throne of the Divine Adoratrice in 586 B.C.E. Two years later, she was invested officially with the office of high priest. Ankhnesneferibre was another long-lived God's Wife ruling until her death in 525 B.C.E. The year the Persians invaded Egypt. Her successor Nitocris II, ruled only until the Persians took control of their new land(25). The office of Divine Adoratrice was over, the glorious royal women who served Egypt would never again offer sacrifices, adoration, or reenact age-old rituals in the Temple of Amun at Karnak.
1) Robin Gay, Women in Ancient Egypt, pg 155
2) Karol Mysliwiec, First Millennium B.C.E. The Twilight of Ancient Egypt, translated by David Lorton pg. 115
3) Robin Gay, Women in Ancient Egypt, pgs 43, 44
4) Robin Gay, Women in Ancient Egypt, pg 27
8 ) Robin Gay, Women in Ancient Egypt, pg 48
10) Robin Gay, Women in Ancient Egypt, pg 150
11) Nicolas Grimal, A History of Ancient Egypt, pg 313
15) Karol Mysliwiec, First Millennium B.C.E. The Twilight of Ancient Egypt, translated by David Lorton pg 34
23) Karol Mysliwiec, First Millennium B.C.E. The Twilight of Ancient Egypt, translated by David Lorton pg 111
24) Karol Mysliwiec, First Millennium B.C.E. The Twilight of Ancient Egypt, translated by David Lorton pg 108, 109
25) Karol Mysliwiec, First Millennium B.C.E. The Twilight of Ancient Egypt, translated by David Lorton pg 131″
http://www.kingtutone.com/divine/
Ancient Egyptian Resource
Center.
Amenirdis the Great – Princess of Nubia – Queen of Egypt XXV Dynasty
Posted in Adoratrice, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankhnesneferibre, Assasif, Assyrian, Black Pharaohs, Chief Priestess, Deir el-Bahri, Divine Adoratice of Amun, Divine Adoratrice, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, el-Assasif, First Prophet, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Karnak, Karnak Temple, Kashta, King Kashta, Kush, Kushite, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Sais, Scribe, Scribe of Amenirdis, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Taharqa, Taharqo, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, Uraeus, Wadi Hammamat, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty with tags Adoratrice, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankhnesneferibre, Assasif, Assyrian, Black Pharaohs, Chief Priestess, Deir el-Bahri, Divine Adoratice of Amun, Divine Adoratrice, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, el-Assasif, First Prophet, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Karnak, Karnak Temple, Kashta, King Kashta, Kush, Kushite, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Sais, Scribe, Scribe of Amenirdis, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Taharqa, Taharqo, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, Uraeus, Wadi Hammamat, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty on January 28, 2009 by www.Amunirdis.net
"The Ancient Kushite princess commonly known as Amenirdis I was the daughter of Kashta and sister of Piye and Shabaka. Kashta arranged to have her adopted by the Divine Adoratrice of Amun, Shepenupet I, at Thebes as her successor; this proves that he already controlled Upper Egypt prior to the reign of Piye, his successor. At the reign of Piye, Amenirdis was established as God's Wife of Amun in Thebes, and this important post typifies the policy of the Napatan kings of Egypt and may anticipate the central role which royal women held in the later history of Kush.
She occupied one of the highest ranks a woman could attain in a cult of the god; that was the position known as God's Wife. Another high temple rank for women was Divine Adoratrice, which in the 18th Dynasty was sometimes held by women of high status at court, like the mother of the queen, or by the wife of the high priest in the Amun cult at Karnak. From the reign of Osorkon III to that of Psammetik III, Thebes was ruled by a succession of five daughters of the ruling royal house who would live in Thebes and give all their attention to the god's cult.
The first was Shepenwepet I, who was appointed Divine Wife by her father, Osorkon II, who received all the estates and property formerly possessed by the High Priest. She also officiated at the Temple of Osiris. Shepenwepet I continued in power under Osorkon's successor, Takeloth III, though no mention of the Divine Wife appears in his records and he made no arrangements for a successor. When at the end of the Third Intermediate Period the rulers of Kush began to extend their authority into Egypt and took power away from the Libyans, Piankh invaded Thebes from Kush to become the first ruler of the 25th Dynasty.
He persuaded Shepenwepet I to adopt his sister Amenirdis, as successor. So Amenirdis carried the old title of Divine Adoratrice Apparent. Amenirdis I, sister of the general Piankh, reigned as Divine Wife under Piankh, Shabaka, and Shabitko of the 25th Dynasty. She in turne adopted Piankh's daughter to succeed her as Shepenwepet II. Some years later Shepenwepet II adopted the daughter of Taharqa to reign as Amenirdis II.
There is a fragmentary stela that refers to Taharqa having given his daughter to marry the vizier Montuemhat and that they had a son named Nasalsa. When Amenirdis I died, her niece completed a mortuary chapel at Medinet Habu for her, though nothing now remains in the burial chapel. But her grave goods can be found in museums all over the world."
http://www.sis.gov.eg/En/Pub/magazin/winter2008/110235000000000018.htm
Posted in Adoratrice, Akaluka, Akhamenerau, Amen, Amenardis, Amenirdis, Amenirdis the Elder, Amon, Amonardis, Amonirdis, Amoun, Amun, Amunardis, Amunirdis, Ancient Egypt, Ankhnesneferibre, Assasif, Assyrian, Black Pharaohs, Chief Priestess, Deir el-Bahri, Divine Adoratice of Amun, Divine Adoratrice, Divine Votaress, Divine Wife, Dynastic, Dynasty, Egypt, Egyptian, Egyptian History, Egyptian Queen, Egyptologists, Egyptology, el-Assasif, First Prophet, God, Goddess, Gods Hand, Gods Wife, Gods Wife of Amun, Harwa, Karnak, Karnak Temple, Kashta, King Kashta, Kush, Kushite, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Pharaoh, Pharaohs, Piankhi, Pie, Piye, Prenomen, Priest, Princess of Nubia, Psammetichus, Psammetik, Psamtek, Psamtik, Pye, Queen Amenirdis, Queen Amunirdis, Queen of Egypt, Queen Pebatma, Sais, Scribe, Scribe of Amenirdis, Shabaka, Shabaka Neferkare, Shabaka Stone, Shabaqo, Shabitko, Shebitku, Shepenupet, Shepenwepet, Taharqa, Taharqo, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Twenty Fifth Dynasty, Upper Egypt, Uraeus, Wadi Hammamat, www.Amenardis.net, www.Amenirdis.net, www.Amunirdis.net, XXIII, XXIV, XXV, XXV Dynasty, XXVI, XXVI Dynasty with tags Akhamenerau, Amen, Amenirdis, Amon, Amonardis, Amonirdis, Amoun, Amun, Ancient Egypt, Ankhnesneferibre, Assyrian, Deir el-Bahri, Divine Wife, Dynasty, Egypt, First Prophet, God, Goddess, Harwa, Karnak, Kush, Medinet Habu, Memphis, Montuemhet, Napata, Nasalsa, Necho, Nitocris, Nitoqret, Nubian, Nubian Queens, Oracle, Osorkon, Peshuper, Piankhi, Pie, Piye, Priest, Psammetik, Pye, Sais, Scribe, Shabaka, Shabaqo, Shabitko, Shepenupet, Shepenwepet, Taharqa, Tanis, Tantamani, Temple of Amun, Thebes, Third Intermediate Period, Upper Egypt, Uraeus, Wadi Hammamat, XXIII, XXIV, XXV, XXVI on January 28, 2009 by www.Amunirdis.net


text:
112 Tudor Street, Boston, MA, 02127
Listing Agent: Bre Norris | Agent phone: 857-869-7909
Address: 112 Tudor Street
Rare Find in the South Boston market! A wonderful detached single-family home on three levels with 4 bedrooms, a home office/den, 2.5 baths, and a large private exterior patio! The lower level offers an open-concept living/dining space with an eat-in kitchen and features stainless steel appliances and a center island. French doors guide you into the exterior patio space and a powder room completes this level. The next floor offers 2 very large bedrooms with a full bath and the top level offers 2 additional bedrooms, a home office, and another full bath. This single family sits on a prime and quiet one way side street. Just minutes from Broadway Station, and only a few blocks to West Broadway, which has some of the hottest bars, restaurants and shops South Boston has to offer.
Listing Agent: Bre Norris Agent phone: 857-869-7909 Courtesy of: Insight Realty Group, Inc. Office phone: 617-323-2300 The property listing data and information, or the Images, set forth herein were provided to MLS Property Information Network, Inc. from third party sources, including sellers, lessors, landlords and public records, and were compiled by MLS Property Information Network, Inc. The property listing data and information, and the Images, are for the personal, non commercial use of consumers having a good faith interest in purchasing, leasing or renting listed properties of the type displayed to them and may not be used for any purpose other than to identify prospective properties which such consumers may have a good faith interest in purchasing, leasing or renting. MLS Property Information Network, Inc. and its subscribers disclaim any and all representations and warranties as to the accuracy of the property listing data and information, or as to the accuracy of any of the Images, set forth herein. Privacy Policy Notice: All information collected voluntarily from you will be used to personalize your experience, improve our website and improve our customer service. This information will not be shared with any other third persons or entities. Updated: 28th January, 2023 11:07 PM (UTC)

redpajama_set_name: RedPajamaCommonCrawl


Learning, education and training are core to Heritage BC's work in developing the capacity, knowledge and appreciation of heritage throughout the province.
In many cases, professional learning credits are available for workshops and webinars for members of the Planning Institute of BC (PIBC) and Architectural Institute of BC (AIBC). Please contact us (info@heritagebc.ca) know if you are interested in receiving professional development credits.


NEW YORK (Reuters) - U.S. shale oil production is expected to increase in May for the fourth consecutive month, U.S. Energy Information Administration data showed on Monday, boosted by record production in the prolific Permian Basin of West Texas and New Mexico.
Total oil output is set to rise by 125,000 barrels per day (bpd) to 7 million bpd, the EIA said in its monthly drilling productivity report https://www.eia.gov/petroleum/drilling/#tabs-summary-2.
Production in the Permian Basin is expected to jump by 73,000 bpd to 3.2 million bpd, the largest according to records dating back to 2007.
The expanding production there has led to bottlenecks as pipelines transporting the crude have filled more quickly than expected.
Bakken output is expected to rise by 15,000 bpd to 1.2 million bpd, the highest since July 2015. In the Eagle Ford shale fields, production is set to rise by 24,000 bpd to 1.3 million bpd, the most since May 2016.


text:
Essex: Long-serving organ player retires after 71 years
Published: 9:07 AM June 19, 2011 Updated: 6:43 PM November 1, 2020
AN ORGANIST who has played at Littlebury Church for 71 years played at his last service on Sunday.
Denis Wright was only 14 when, in 1940, the vicar at Holy Trinity Church asked him to play for the congregation.
The previous organist had been called up to fight in the second world war and Denis, a choirboy at the church since 1934, had been learning the piano.
He vividly remembers his first service on June 18, 1940. Although Sunday's service was inevitably emotional, the 85-year-old says he will not regret his decision.
"I don't regret it – now is the right time to stand aside," he told the Reporter. "I've done my bit."
He added: "It was only a small service [on Sunday] and everyone enjoyed it."
Mr Wright's time as an organist in Littlebury has been far from uneventful.
While working on the production line for an adhesive company in Duxford in 1974, he was caught in an explosion and damaged his right hand.
He was off work for six months and lost about 50 per cent use of his hand.
"I was worried that I might never play the organ again," he said, before adding that playing the organ helped his hand recover much of its mobility.
However, he still suffers from the injury and says it is now impossible for him to fully extend his little finger, making his organ playing more difficult.
Mr Wright was also awarded an MBE in 1995 to honour his extensive services to the community. He was on the parish council for 48 years, including 18 as chairman, as well as serving on various other committees and organisations.
When speaking of his long service to the community, he stresses that "I couldn't have done it without the help of my wife Mary".
The couple celebrated their diamond wedding anniversary last year.
Although formally retired from the role, he has not ruled out lending a hand as an organist for the church when needed.


Hypnosis is the single most powerful psychotherapeutic tool for breaking the negative trance states of depression and anxiety!
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It is particularly helpful with confidence and self esteem problems and is now recognised as one of the most successful interventions (if necessary in conjunction with medication) in the treatment of Depression and Anxiety; including panic attacks, agoraphobia, IBS and many others.
All interventions have a profound affect on the way our problems, whether past, present or future, are all viewed and dealt with. A major re-evaluation takes place. They are also second to none as a route to greater self-awareness enabling us to become the person we were always meant to be.
Treatment is tailored to each clients individual needs and circumstances, while average length of treatment varies it is generally under twelve sessions.


text:
Infographics: What Do Castile-La Mancha Taste Like?
Castile-La Mancha is one of Spain's largest regions and is home to a selection of emblematic products such as Manchego cheese, saffron and purple garlic. But there's so much more...
We're all familiar with its landscape: vast plains, whitewashed villages and towering windmills that provided inspiration to famed author Miguel de Cervantes (1527-1616) for one of the storylines in his novel Don Quijote de La Mancha.
At present, this region, which is located on Spain's meseta central, is home to many wonderful tourist attractions such as UNESCO World Heritage cities (Toledo, Cuenca), environmentally-important nature reserves (Lagunas de Ruidera, Tablas de Daimiel, Alto Tajo, Sierra de Alcaraz, Cabañeros National Park, etc.), a tourism and cultural route revolving around Don Quijote de la Mancha... and, unsurprisingly, a varied selection of foods full of local flavors with a lot of personality. Would you like to try them with us?
The regional product that has acquired the most international fame is Manchego cheese, produced in the Protected Designation of Origin (PDO) of the same name. It's a benchmark for cured cheeses made with pasteurized or raw sheep's milk (in the case of Artisanal Manchego Cheese), which comes only from the Manchega breed of sheep, which are native to the region. It's a firm, compact cheese with a truly distinct aroma and flavor.
The same sheep are also the source of incredibly tender meat used as the primary ingredient in some of the region's most popular dishes, and Castile-La Mancha is also extremely well known for the excellent quality of its small and large game. It's worth mentioning the red-legged partridge as well, masterfully prepared in many restaurants in the region, and the fantastic tinned game (quail, partridge, pâtés, etc.).
If we're talking about international prestige, saffron from La Mancha is a premium product that is fantastically exclusive: it's produced in very limited quantities in line with extremely rigorous guidelines.
The region's orchards and farmland are also the source of wonderful products like wild asparagus, honeydew, different types of fruit trees... and one product in particular that has become famous around the world: purple garlic from Las Pedroñeras, with its own Protected Geographical Indication and unique nutritional and organoleptic qualities.
Another singular product from this large Spanish region is a small local variety of eggplant grown exclusively in the town of Campo de Criptana and sold in cans with a dressing made with vinegar, salt, cumin, garlic, paprika and olive oil—a first-rate appetizer.
For people with a sweet tooth, there are many irresistible products in Castile-La Mancha. One is artisanal honey, made in the town of La Alcarria, with its own Protected Designation of Origin and available in three varieties: lavender, rosemary and polyfloral. And then there's marzipan from Toledo, a delicious Spanish dessert of Arabic origin made from almonds and sugar.
Many consumers don't know this, but Castile-La Mancha is one of the main producers of extra virgin olive oil and it's home to a leading variety: Cornicabra. Olive oils produced under the following Protected Designations of Origin also deserve to be mentioned: Aceite de La Alcarria, Montes de Toledo, Campo de Calatrava and Campo de Montiel. And nothing makes a better appetizer than drizzling extra virgin olive oil over a slice of one of the most delicious artisan breads, Pan de Cruz, made with candeal flour in the province of Ciudad Real. It's a round loaf of bread with two perpendicular cuts in the crust, made with a knife, in the shape of a cross.
And now this article has come full circle: in the 17th century, Miguel de Cervantes wrote about Pan de Cruz in one of the passages in his novel Don Quijote de la Mancha... Do you think you can find it?
Text: Rodrigo García Fernández /@ICEX.
Translation: Samara Kamenecka /@ICEX.
Infographics: What Does Castile-León Taste Like?
Queso Manchego PDO
Azafrán de La Mancha PDO
Video recipe: Arugula salad with Serrano ham, Manchego cheese, egg and anchovies
Marinated Manchego cheese


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Spotify Session
Arctic Monkeys cover Stephen Fretwell for Spotify Singles: Stream
Plus, a gorgeous live version of Tranquility Base Hotel & Casino track "Four Out of Five".
by Lake Schatz
on September 12, 2018, 12:53pm
LCD Soundsystem cover Chic's "I Want Your Love", perform "Tonite" for Spotify Singles: Stream
Their Chic cover was mashed with This Is Happening's "Home".
on September 12, 2018, 10:31am
Courtney Barnett covers Elyse Weinberg and Neil Young's "Houses" for Spotify: Stream
Plus, hear a live rendition of Tell Me How You Really Feel cut "Charity".
Rhye cover Procol Harum's "A Whiter Shade of Pale": Stream
Mike Milosh & company put their own spin on the 1967 hit for Spotify.
Jack White shares a shred-heavy cover of Modern Lovers' "Pablo Picasso": Stream
From the singer's recent Spotify Session.
by Randall Colburn
on April 25, 2018, 12:02pm
The National share studio cover of Cat Power's "Maybe Not": Stream
Recorded as part of the band's Spotify Singles session.
Miley Cyrus covers Tom Petty's "Wildflowers" for Spotify Singles session: Stream
Younger Now singer continues to pay homage to the iconic rocker.
by Michelle Geslani
Låpsley covers Kate Bush's "This Woman's Work" live — listen
From the British singer's new Spotify Sessions EP.
D'Angelo covers Prince's "She's Always In My Hair" for Spotify session — listen
R&B crooner also sings Black Messiah tracks and the Voodoo track "Spanish Joint".
on May 13, 2015, 12:05pm
Tears for Fears cover Radiohead's "Creep" for Spotify session — watch
The 40-plus minute session also includes "Everybody Wants To Rule The World", "Head Over Heels", and much more.


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Copying and pasting code ("copy-paste") is a primitive but very common form of software re-use. Unfortunately, this practice is fraught with dangers not least of which is duplicating bugs and security defects throughout the system. While the degree to which copy-paste, as a general code construction technique, should be allowed or disallowed is debatable, everyone can agree that errors introduced via inconsistent modifications to copied code are bad. Human programmers can detect some instances of copy-paste manually, at least in fairly small code bases. Doing this is not too difficult for an automated tool, even for large programs (though it can be tricky when the copies are modified, as frequently happens). However, detecting only those instances of copy-paste that introduce outright errors is much harder, even for an automated tool, and is exceptionally difficult to do manually (for reasons having to do with perceptual psychology). In this post, I'm going to show examples of GrammaTech's CodeSonar detecting tricky copy-paste errors and how this is useful for improving quality and security.
Anti-patterns: Cut-And-Paste Programming
The Economics of Static Analysis Tool Usage
Is Copy and Paste Programming Really a Problem?
Copy and Paste: We keep doing it and we know better
Most developers would agree that simply copying and pasting code is a poor form of re-use and a bad practice in general. However, it is common because proper re-use takes extra time and money (in the short term). This might be due to a lack of motivation for proper re-use and lack of forethought. Whatever the excuse, there's plenty of reasons to minimize copying and pasting, for example:
Poor reuse: The real cost of developing software is not in the typing of the code, so simply duplicating code does little to increase productivity. Duplicating bugs over and over makes matters worse. In addition, the opportunity for collecting and documenting useful, reusable code is lost. Creating more code moves your code coverage metrics in the wrong direction and increases your testing burden.
Duplicating bugs and security vulnerabilities: The most obvious problem is duplicating the problems inherent in the original code throughout the project. Worse still is that each copied version is usually modified for its specific context, making tracking down the bugs more difficult.
Introduce new errors: After code is copied it's usually modified to suit its new location. Such modifications are typically a manual editing process and are thus prone to all of the sorts of human errors that plague any repetitive, manual task. These edits are often made hastily, without a full understanding of the original code, allowing for subtler semantic errors.
Licensing issues
Code can be as easily copied and pasted from online examples or open source projects as it can from internal projects. Not understanding the license implications of copied source can be very problematic, more so for embedded devices, where onboard software is considered a new and unique copy. This is not an area that GrammaTech specializes in but other companies do provide tools for these types of analysis.
How advanced static analysis helps detect tricky copy and paste bugs
A tool that just detects instances of copy-paste is useful for those looking to restructure existing, working code, of course, but it would be a very blunt instrument: developers wouldn't know where to start. Even among those not looking to cleanse copy-paste sins of the past there's interest in finding actual errors in the code. Advanced static analysis can focus on finding such copy-paste errors, cases where code was re-used but new errors were introduced in the process. Such errors are typically introduced during variable substitution, the process where the pasted code is adjusted to its new context.
This is a tricky analysis to do. The analysis tool has to first find re-use patterns across large spans of code and then find places where incomplete substitution of variables has been done in the pasted code compared to the source location. Even this is not sufficient evidence to report an error, since there are many reasons why a seemingly-inconsistent modification was exactly what the programmer intended and is perfectly correct. One must go much farther and try to see into the mind of the programmer to see whether their likely intent matches the code they actually wrote. It needs to do this with high precision, as we've discussed before in a previous post.
The following examples are real errors that were found using GrammaTech CodeSonar on open source projects.
In this example a 16-line block of code was copied and pasted, and a variable changed, but not consistently – the txn pointer in the copy is incorrect and should be cur_txn. We informed the development team and they changed the code as suggested by the warning shown in Figure 1.
Figure 1: Bug #14208 in file: postgresql-9.4.4/src/backend/replication/logical/reorderbuffer.c.
Figure 2 shows CodeSonar's detection of a copy-paste error in FFmpeg (an open source video transcoder) where the copied code was not updated consistently, left with the field dts in the expression pkt->dts instead of the correct pts.
Figure 2: Copy and paste error detected in file FFmpeg/libavformat/mux.c.
Another example was found in OpenOffice where code was copied and pasted incorrectly. The difference in the correct variable NSizY compared to NSizX is subtle and easily overlooked in the original code, but note here how the presentation of this problem in CodeSonar makes it very clear. This bug was submitted to the OpenOffice project recently and has not been addressed yet.
Figure 3: Issue 127449 in file: main/svx/source/svdraw/svdxcgv.cxx.
This example shows how copy-paste errors are detected even in string literals, often in conjunction with patterns discernible in nearby code. In this case a very large block of code – an entire class definition with numerous member function bodies included in it – was copied, so Figure 4 only shows a portion of the original code and a portion of the copy.
Figure 4. llvm bug 34996 in file: libcxx/include/list.h.
Internal testing of GrammaTech's Copy-Paste Error detection has found more than twenty different confirmed bugs in seven different open source packages plus at least five more bugs that are pending review by the maintainers of various packages. The affected packages include linux, chromium, mysql, wine, eclipse TCF, python, and postgres.
Copying and pasting code is the most common form of re-use in software development despite the problems it creates. While real factoring and reuse is usually preferred, for legacy code it may not be practical, so use of advanced static analysis is key to finding the errors frequently resulting from this practice before they make it into the final product (as they have in the examples). As with all static analysis, finding problems in the code soon after they're introduced, before expensive testing effort is spent on them, is to everyone's advantage. Simple tools that detect copied and pasted code for its own sake will create a lot of work for you, with relatively little to show for it. An advanced static analysis tool that only shows you real, often subtle, errors in the copied code points you right at the changes that need to be made, maximizing your return on your development investment.
Finally, I would like to acknowledge the outstanding contributions of Dr. Petru-Florin "Pepi" Mihancea, without which this project would be nowhere near where it is today. Dr. Mihancea is an associate professor at Polytechnic University in Timisoara, Romania, though this work was unrelated to that position.
Written by Roger Scott
Product Architect


In a sport dominated by beautiful machines and cutting-edge technology, it can take a lot for a bike to stand out in the peloton.
One such means, however, is the custom paint job – and there certainly hasn't been a shortage of eye-catching designs on show this year.
Peter Sagan's Wolverine-inspired Cannondale featured in our round up of the best sprinters' steeds, while Tour de France champion Vincenzo Nibali rode into Paris on a yellow Specialized S-Works Tarmac SL4, featured in our Grand Tour bikes round-up.


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Music Theft/File Sharing?
Oct. 1st, 2003 at 10:38 PM
rapper ll cool j joined entertainment executives in the music industries law suit against downloaders, to once again demonstrate that a supposed voice of the youth, doesn't understand a generation of change.
downloading appears to be one of those things that gets people all agitated no matter where you sit on the fence. i had a conversation the other day with my friend c., who is a writer, and who refused to believe that downloading was anything but theft. he wasn't limiting his opinion to just music, either: film, writing, whatever an artist once supplied for money, and which could now be moved around without such a transaction, was included. (we had a brief discussion about art as found in paintings. it's interesting how no one thinks an artist should receive money for the copies of his or her art that float around in images and scans, while copies of songs and writing should be. granted, it's not the same thing, but still.)
for me, i don't believe that downloading is theft. i don't believe any of it is, but lets just keep the focus on music, because with other art forms, there are different variations of it. but, if you spend any time online, it will quickly become obvious that downloading music isn't seen as theft, but rather as sharing, in the same way that you make copies of albums, and lend books, though the scale of your friends has changed. (that said, i have lent albums to people i wouldn't call a friend, just as i would allow someone to download a song from an album i bought on a peer to peer system.) it's not hard to see that a culture of sharing of information and property is fundamental to the web, and could indeed be argued as the founding principle behind it. it shouldn't, therefor, come as a surprise that this would be seen as a problem, or indeed, as 'theft' in a capitalist society.
the problem is, however, that net culture views downloading as sharing. the simplest example of this is in the title for it: file sharing. how can it be theft when you're getting a copy from another person? when there is no flashing light, no sensors to skip past, and no monetary value associated? yes, it could be argued that there is a monetary value, but if we take a hard and fast line with that, doesn't that mean that me making a copy of my cd for a friend is just as illegal as file sharing? and where does that place the radio? for years now, we've grown up viewing the radio as a tool where we can discover new music, a venue that is open to us--but clearly, the signal the record companies are sending us, is that the radio is not about music but instead about advertising their music, which is, i think, a fundamental change in opinion to how we view the radio. radio hosts begun, in essence, nothing more than voices that assist the packaging and sale of the object to us, much in the way that infomercials have hosts to sell us the new toaster or skin cream agent.
but, back to the argument of the cool j and his suited business friends: downloading takes money from artists. it is theft. and if it is, then surely what we are looking at here is petty theft? equal to a kid nicking a candy bar in the store, for, assuming we believe such an argument (and i don't, as i will explain later) then the theft that is happening, while on a grand scale, is no different to the thousands of mars bars that are ripped off on a daily basis throughout the world.
but that argument doesn't interest me. it's for someone else to take the pursuit of, because i clearly don't view downloading as theft. and what is more, is that i view downloading as an activity that is primarily indulged in by the youth, of kids between the ages of ten and eighteen.
(and i say this without any research, but there must be a large essence of truth to the statement for giant companies to sue a 12 year old girl for downloading, and say, in the board room to the question of the bad press that would naturally arise from this,
"Fuck it.
"Fuck it, 'cause we'll scare the little fuckers with the big bad whip of the law, we'll scare 'em with LL Cool J's face saying that they're naughty, and we'll sue the kids who have a disposable income of about thirty bucks, cause that's who we've got to stop.")
targeting a base who legally aren't allowed to be employed does not seem to be combating the people who are no longer buying cds. youths primarily get their cash from their parents, and on a general level, don't have the kind of money that allows them to buy a couple of cds a week. (when i was twelve, i would be digesting, through friends, through the radio, and through the tv, music that equaled a couple of cds, easily.) but more than that: it's ridiculous to target this audience. it's ridiculous to punish them because they're downloading because mummy and daddy won't drive them to the mall, or because they don't have the money to buy cds. but more than that, it's clearly ridiculous to target them when it is those people in their twenties to forties who are traditionally thought of as having the keys to the disposable income, are they are the ones who are turning around and saying, "I'm not going to buy this new pop music."
new pop music always aims for the teenager, and it is always traded around by them, but traditionally, it is the twenty to forty bracket who pay for the cds, who give them as gifts, or toss the cash. this is, after all, is the way music was given out to the generation that the thirty five year old ll cool j represents.
but there was no internet back then.
and now, for a new youth culture, music is no longer found--or experienced--through sharing on a face to face basis with you friends, or sitting down to rage at midnight, or on the radio. it's found online, and it's shared with the global community who exist online too. it's not something that can be compared to what has gone before, because the net is new, the net is new culture, new thoughts, and new social practices, and this, i think, is being totally forgotten when people point to file sharing and claim it to be theft.
you know, i began this as a simple thought. look how it got out of control. anyhow, if you read this, and you think some of the arguments are a bit weak, then that could be because they are. it's all off the top of my head. however, if you think this is neat, and you'd like to share it around the net, please, feel free. it's a global community.
Notes:Johnny Cash - Desperado (i downloaded it)
burntcopper
Oct. 1st, 2003 11:19 am (UTC)
One side of all this is the fact that singles were the primary way that teenagers and kids got new music. They can afford those. In Virgin, we had a fairly simple rule of thumb : kids bought singles with their pocket money, adults bought the albums. Singles are simply a loss leader to get people to buy the albums, and money off singles is actually made by radio play. The only way you make money off singles is when said single goes to the top five and stays there for weeks.
However, since most downloads are single songs, not whole albums - the majority of people that I know who download music download a couple of songs, and if they like that, buy the album. In that way, downloads aren't really affecting album sales. What's paining the record companies is that sales are partially dropping because kids download just the songs they want, rather than saving up for the whole album, and of course they're not begging mum and dad for money for these albums, as they've already got the tracks they want.
Second factor in cd sales downturn : record companies investing huge amounts of money in here today, gone tomorrow pop acts, who barely last an album. It's a genrally acknowledged fact that if you're in a band, you don't really start making money properly until the second album, or if #1 was a mega hit, not just a normal-sized hit/mediocre-did okayish hit like most of the pop albums. Single, single, not very well selling album targeted at an audience reknowned for their short attention span - that's a whole lot of money used on marketing and the like down the drain.
Oct. 1st, 2003 05:27 pm (UTC)
also of consideration with album sales is that, really, the huge boom from the eighties/nineties was not going to continue forever. nothing continually rises--eventually, it'll peak, and then settle downwards as their audience changes. and added to this, is the rise of independent labels who are producing music that has carved off parts of the big industries audience.
the downloading of singles was well noted. forget all about that.
of course, i should add, that for my taste, most big pop albums have all the content of a water cracker these days--pumped through a machine and fronted by girls no older than fifteen, it's hard for me to really get behind that, especially as they talk about their chastity and getting married and all that wholesome trash. where are my drug taking, short life living musicians who would appear drunk on tv shows, and assure everyone that they were brilliant, and everyone was lucky to be here?
but of course, that's simply taste. it's not really part of the argument for downloading. so we can ignore that :)
ashamel
<<but if we take a hard and fast line with that, doesn't that mean that me making a copy of my cd for a friend is just as illegal as file sharing?>>
Well, yes.
<<is that the radio is not about music but instead about advertising their music, which is, i think, a fundamental change in opinion to how we view the radio>>
Radio is there to sell advertising (though on occasion the Government allocates money for stations to get by without advertising). Likewise, record companies put out singles to get played on the radio so people buy the album. That might not be why you listen to radio, but it is why there are radio stations for you to listen to.
I don't think file sharing is one of the big sins of modern life, and the record companies have are hardly bastions of virtue when it comes to the rights of artists. But I still haven't seen an argument that is more than 'I should be able be able to copy music without charge, because I want to'.
well, if radio is nothing more than one big advertising medium, why is it that such an issue is raised for the cash for comments thing? surely cash is given for music being played, what difference does it make about the comments said? granted, i agree that this is why radio stations are there, but it's not what, culturally, we like to think radio stations are there for.
i don't think you're ever going to get a reasoning beyond i can, and i want too for file sharing. culturally, it's changed, and we can, and we will. the map of the cultural world relating to this has changed, and new thought has to come out about it. it's no longer enough to answer file sharing with the word of 'stop! it's illegal! buy or fry!' so to say.
Honestly, sharing music is theft. Music is intellectual property, and just like any other forms of copyrighted IP, unauthorised distribution is akin to theft. Whether music should be published by artists who allow it to be shared is a separate issue (and seems to look at your argument about "getting with the times", culturally speaking). However, the fact still remains - if I create something and want to sell it, I should be able to moderate who gets hold of my work and how.
The flipside is that, if you don't approve of the fees the music companies are charging for CDs, you don't have to listen to the music. However, no one likes the sound of that assertion (pun unintended).
Hey, we all pirate music, but trying to find some moral justification for it is something that's not possible. Music is just like any other form of intellectual property.
intellectual property is a strange little beast. you often have to ask the question: does a piece of work, mass marketed, churned through the air, and billed everywhere around you, stop being an intellectual property and become a commodity? because i don't view the cd of a musician to be his or her intellectual property--i view that as the product, the merchandise.
their intellectual property is the musical knowledge, the application of that into turning it into a song. the arrangment of a's and b's and notes accordingly and so on and so forth. this is the intellectual property, and when it is stolen, it is called plagurism, and someone is trying to pass the work off as their own. which is not happening with file sharing.
personally, i'm not trying to morally find a reason for downloading. i don't need it. i'm perfectly happy with the reasons that i do it. however: the cultural climate *has* changed, and the way in which we view downloading/theft and music and even the concept of intellectual property changes with these times. nothing retains the same cultural meaning forever. it's important, i think, to note this. things change, it's the constant in our world.
to answer the question of, if you make a work and you should be able to detail how you want it sold and not, then yes, certainly you do have this point. one could argue that if you were so concerned with the selling of your material and control over its distribution, then you should start your own company, rather than placing your art in the hands of a giant corperation. but that doesn't really answer your point, and in truth, it can't be answered--if musicians don't want their music shared, then it shouldn't be. however, this will not be stopped through the suing of people. it will not be stopped by any court action. it will only be stopped if the cultural change in music listening is properly explored and accepted.
one result of this, could simply be that people will accept the view of the artist. across the net, people frequently take down things of an artist if the artist requests. sure, some don't, but frankly, no one believes that music bootlegging has suddenly come up in the last few years upon the net. (if bootlegging is what you want to call it. since no one makes money out of it, i don't.) the mexican music industry is apparently losing money at an amazing rate due to the bootlegging trade there, which has nothing to do with downloading, but rather a crippled economic system that sees its citizens looking for the cheapest things imaginable.
burntcopper : (no subject) [+1]
ashamel : (no subject) [+1]


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Baseball's unwritten rules are, once again, a popular topic of conversation.
Did the Reds' Derek Dietrich admire his home run for too long? Should Pirates starting pitcher Chris Archer have been ejected for throwing behind Dietrich the next time he faced him?
Strong reactions were shared on social media following Sunday's benches-clearing incident between the Cincinnati Reds and the Pittsburgh Pirates during the Reds' eighth consecutive loss.
theres nothing wrong with a hitter admiring or bat flipping a home run, just like theres nothing wrong with a pitcher celebrating a strike out or out. none of it is disrespectful. go watch some of the Dominican Winter League. players are doing something literally every play.
After a little misunderstanding, we're back.


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Peace Church has been an active congregation in Portland since 1904. The congregation moved from north Portland to its present location in 1956. Other community groups use the building for meetings occasionally. Brethren beliefs include a passion for Peace and Justice.
The Church of the Brethren has about 125,000 members in over 1,000 churches in the United States and Puerto Rico. Another 150,000 members belong to the COB in Nigeria, EYN.
Brethren roots go back to Schwarzenau, Germany in the early 1700s. Founder Alexander Mack was influenced by Pietists and Anabaptists. To avoid persecution in Europe, the Schwarzenau Brethren Church moved to colonial America by the mid-1700s and settled in Germantown, Pennsylvania. That colony was well-known for its religious tolerance. Over the next 200 years, the Church of the Brethren spread across the entire North American continent.
Simply put, we are a Christian community that believes in doing what Jesus did: helping people meet the practical and spiritual needs of day-to-day life. Using the New Testament as our creed and guide, we encourage a faith rooted in relationship with Christ and are respectful of each person's voice; we maintain an unflagging commitment to peacemaking and reconciliation; and we reach out to all people as God's children, our brothers and our sisters. We are a people who put faith into action, who seek to live for the glory of God and our neighbor's good.
The congregation has about 50 regular attenders that range in age from 97 to under a year. Our style of worship is informal and collaborative, sharing thoughts and ideas with each other as well as personal joys and pains.


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Last weekend I learned that Audrey Santo is dead.
Santo, who at age three fell into a swimming pool and spent the final eleven years of her life in a comalike state known as akinetic mutism, was believed by many to be a victim soul, chosen by the Virgin Mary to take upon herself the sufferings of others. Thousands of people made pilgrimages to her mother's Worcester, Massachusetts home; Audrey's presence, they said, caused oil to flow from statues of Jesus and Mary, and after visiting her many claimed to have been healed.
I spoke to many of these people in 2004 while writing about Audrey for Boston's Weekly Dig. It was the last story I wrote for them, and was never published; the editor wanted me to make it edgier, to be more caustic. I didn't have much enthusiasm for that, and the story withered. What was the point, I thought; who was I call to call pathetic and laughable and cynical something that soothed the suffering of others?
Audrey died this April. The never-published article is here.


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text:
4th-Grade Teacher Refuses to Lie to His Students, So He Teaches the True History of Christopher Columbus
Matt Gilligan
©Twitter,thel0rdbyr0n
Nathanael Madden is a teacher at Cold Spring Elementary in Potomac, Maryland, and he has decided to take a different path when teaching his students about a very controversial historical figure.
Madden decided that he would teach the real history of Columbus and Columbus Day to his 4th-grade students, and his tweets about his student's responses went viral.
Madden said about his decision,
"School is often a very confining and controlling place for kids, and I want to create a space for students to feel liberated by learning. I want all students to feel that they are free to be who they are and that they have a place of belonging in my classroom. This also means that we can't ignore our world's current realities, as well as how everything has been impacted by historical realities. Through my teaching, I constantly encourage and challenge my students to be critical questioners and critical thinkers so they can be active and informed participants in our world."
My 4th grade students recently read of the true history of Columbus' career as a slaver and the genocide he began in the Caribbean.
I asked them: what new information did you learn? how did this affect you? why is this important to learn?
Here are some of their responses:
— Nate ¯_(ツ)_/¯ (@thel0rdbyr0n) October 16, 2019
Madden shared a series of tweets in which he talked about how his students responded to his lessons laying out the "alternative history" that is not usually taught in public schools.
"I found out that the native people helped him, instead of thanking them, he wrote in his journal, he wrote about how he might enslave them and try to control them"
"Christopher Columbus wasn't an explorer but a slave trader."
"Columbus never even set foot on the main continent! He didn't discover anything anyway!"
"Colombus had been a slave trader for more than twelve years beforehand"
"Because the indigenous people were wearing gold, he forced them to mine gold for him. When they did they not mine enough gold, they got their hands cut off and bled to death."
"Columbus killed them ,thinking that the Native Americans were beasts,but he himself actually was the one."
"he would write down what he did as if he was proud of it."
"This hard history made me feel furious!!! A reason for this is that Columbus enslaved people and killed them! He has made me feel this fury!"
"I do not understand why there is a holiday for Columbus."
"I felt very mad, especially at My teacher for teaching me the wrong thing. I asked myself "why would my teachers tell me something that is pure lie?"."
"I feel betrayed because the teachers I had last year and the year before that had taught me that Columbus was a good guy."
"I feel sorrow"
"It must be sad for Indigenous people to see other people thinking Columbus is a hero"
" It also made me feel mad at my country because of how badly they have treated those who were originally from here. They still deserve more attention."
Madden added,
"For so long, particularly in the US, the story of Columbus as a heroic explorer has been the dominant narrative, erasing and ignoring the voices of Indigenous peoples who have known the truth for centuries. As we grapple with the myths of American exceptionalism and start listening to the voices of different marginalized groups, we can uncover the truths of history."
American public education has come a long way since I was in grade school; I don't remember anything other than praise for Christopher Columbus around the time we celebrated Columbus Day at school.
The times, they are a-changing…and that's a good thing.


The mission of the Kern County Democratic Central Committee is to support Democratic organizations, candidates and causes in Kern County. Please stop by our Office at 1430 Truxtun Ave., Bakersfield, CA, Tuesday through Thursday from 11 AM to 3 PM.
Stop by our office to write a letter or card directed to Sacramento or Washington D.C. We are open Tuesday through Thursday, 11AM to 3 PM.


My book a Number 3 Bestseller!
Wow. Strange things happen. Unexpected things happen. I sat down and wrote something that became a book. I decided to share it with the world and it only ended up at number 3 on Amazon's Bestselling Music Biography Chart!
If you live outside the UK, just go to your preferred Amazon and search "Lord Zion" or "A Life Amid Crisis" and I should pop up.


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Artist Spotlight: Bia
July 15, 2021 Artist Spotlight
Bia is a rapper from Massachusetts who you may have seen earlier on the Oxygen reality television show Sisterhood of Hip Hop. Bia had interest in music at a young age, hanging around rappers and recording studios where she would secretly write her own rhymes. Eventually she started sharing her music and eventually released a video that was made with the help of a fan. Since then, her career launched and she's worked with artists such as T.I. , Jennifer Hudson, Kodak Black and Kali Uchis. Bia's music is funky and fun and we are here for it because apparently there's a lot of money wherever she is. Ha!
Check out BIA's "Whole Lotta Money," music video ft. Nicki Minaj below. Call 757.962.8777 for booking info.
2021 Artist Hip Hop/Rap
Kaitlyn CarrArtist Spotlight: Bia 07.15.2021


Online Trading Academy instructor, Larry Jacobson, teaches strategies that enable traders to think and trade like professional equities and options traders.
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