#Abu Ama
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Abu AMA - Intuitiv - the closest thing to vintage 23 Skidoo you'll hear this year
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Invisible Club 022
17.07.2024
Intro 00:00 Scott F. Hamrick-Of Ends and Means 01:27 Conny Frischauf-Ballooooon 05:47 Abu Ama-Blade Runner 08:21 Einseinseins-Gasetagenheizung 13:02 Volker Rapp-Mercerism 17:53 SaĆĄa Delimar-What is the Full Meaning of This 21:43 2muchachos-Vremja Tepla 28:29 Steve Cobby-Silent Windmills 32:27 Sababa 5, Yurika Hanashima-Empty Hands 38:11 Joakim Moesgaard-Eusement 41:27 silentwave-Hakaba Night 44:15 Gaussian Blur-Some Heavy Load 50:06 Karl Marx Stadt-You Know You Want To (Remix) 50:57 Dub Atomica (Ian Boddy & Nigel Mullaney)-Atomicity 54:54 Secret Circuit-Galleon In The Clouds â Froid Dub Rmx 1:04:13 Unknown Me-Retreat Beats 1:08:17 Outro 1:12:04
#Scott F. Hamrick#Conny Frischauf#Abu Ama#Einseinseins#Volker Rapp#SaĆĄa Delimar#2muchachos#Steve Cobby#Sababa 5#Yurika Hanashima#Joakim Moesgaard#silentwave#Gaussian Blur#Karl Marx Stadt#Dub Atomica#Ian Boddy#Nigel Mullaney#Secret Circuit#Unknown Me#Bureau B#Mahorka#echodelickrecords#Cyclical Dreams#Secuencias Temporales#Not Not Fun Records#DĂ©classĂ©#Batov Records#Moniker Eggplant#MĂłatĂșn 7#Intellitronic Bubble
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Sensational VS Abu Ama
#sensational Sensational If you donât know by now step correct and re-frame Sensational of Crooklyn fame: subterranean lyrics over over lo fi dub noise beats, same as it ever was.Originally grazing with Wordsound label, post apocalyptic illbient stable, alongside Bill Laswell rocking blue light torch of avant-garde hip hop and bass music since 1999, here comes Sensational VS Abu Amu with 2âŠ
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ask de @ratoderua : qual a sua opiniĂŁo sobre os direitos dos macacos? vocĂȘ prefere papagaios falantes ajudantes de vilĂ”es ou macacos estilosos que gostam de adrenalina?
â SĂŁo importantĂssimos! Eu era bem porta-voz disso no twitter aliĂĄs, antes do reino dos perdidos. Macacos sĂŁo muito maltratados no meu mundo, um completo absurdo. Papagaios falantes sĂŁo divertidos, mas Ă© claro que macacos estilosos sĂŁo muito mais! Especialmente se for o Abu. Te adoro, Abu! Um beijo. â
#đłđ¶đčđČđ± đđ»đ±đČđżââ â â âąâ â â tasks: acabando a mamata.#lostonesinterview#nĂŁo Ă© puxação de saco#ela sĂł genuinamente ama o abu
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#mosab abu toha#excerpts#rainer maria rilke#literature#essays#victoria chang#quote#ama asantewa diaka#poetry#woman eat me whole#out of my collection#saturday evening whatsapp message#brenda hillman#in a few minutes before later#escape & logic
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âFrom the River to the Sea.â A Poem by Samer Abu Hawwash, translated by Huda Fakhreddine
every street, every house, every room, every window, every balcony, every wall, every stone, every sorrow, every word, every letter, every whisper, every touch, every glance, every kiss, every tree, every spear of grass, every tear, every scream, every air, every hope, every supplication, every secret, every well, every prayer, every song, every ballad, every book, every paper, every color, every ray, every cloud, every rain, every drop of rain, every drip of sweat, every lisp, every stutter, every yamma, mother, every yaba, father, every shadow, every light, every little hand that drew in a little notebook a tree or house or heart or a family of a father, a mother, siblings, and pets, every longing, every possibility, every letter between two lovers that arrived or didnât arrive, every gasp of love dispersed in the distant clouds, every moment of despair at every turn, every suitcase on top of
every closet, every library, every shelf, every minaret, every rug, every bell toll in every church, every rosary, every holy praise, every arrival, every goodbye, every Good Morning, every Thank God, every âala rasi, my pleasure, every hill âan samaâi, leave me alone, every rock, every wave, every grain of sand, every hair-do, every mirror, every glance in every mirror, every cat, every meow, every happy donkey, every sad donkeyâs gaze, every pot, every vapor rising from every pot, every scent, every bowl, every school queue, every school shoes, every ring of the bell, every blackboard, every piece of chalk, every school costume, every mabruk ma ijakum, congratulations on the baby, every y âawid bi-salamtak, condolences, every âayn al- hïżœïżœasud tibla bil-âama, may the envious be blinded, every photograph, every person in every photograph, every niyyalak, how lucky, every ishtaânalak, weâve missed you, every grain of wheat in every birdâs gullet, every lock of hair, every hair knot, every hand, every foot, every football, every finger, every nail, every bicycle, every rider on every bicycle, every turn of air fanning from every bicycle, every bad joke, every mean joke, every laugh, every smile, every curse, every yearning, every fight, every sitti, grandma, every
sidi, grandpa, every meadow, every flower, every tree, every grove, every olive, every orange, every plastic rose covered with dust on an abandoned counter, every portrait of a martyr hanging on a wall since forever, every gravestone, every sura, every verse, every hymn, every hÌŁajj mabrur wa sa âyy mashkur, may your hÌŁajj and effort be rewarded, every yalla tnam yalla tnam, every lullaby, every red teddy bear on every Valentineâs, every clothesline, every hot skirt, every joyful dress, every torn trousers, every days-spun sweater, every button, every nail, every song, every ballad, every mirror, every peg, every bench, every shelf, every dream, every illusion, every hope, every disappointment, every hand holding another hand, every hand alone, every scattered thought, every beautiful thought, every terrifying thought, every whisper, every touch, every street, every house, every room, every balcony, every eye, every tear, every word, every letter, every name, every voice, every name, every house, every name, every face, every name, every cloud, every name, every rose, every name, every spear of grass, every name, every wave, every grain of sand, every street, every kiss, every image, every eye, every tear, every yamma, every yaba, every name, every name, every name, every name, every name, every name, every name, every name, allâŠ
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G.I Incorrect Quotes#86 They were roommates...
Three roommates...trying to raise the next Dendro Archon...could this be an au?...
Baby Nahida: Mah...
Alhaitham*Looking at his child*No
Baby Nahida*Glares at Papa*abUA ama bu!
Alhaitham*Frowns at the baby deity*Dont you talk back to me
Baby Nahida*Starts pounding her tiny fists on his chest in a tantrum*ABU!BUH BUH!
Alhaitham: I said "NO" and I overrule you, young lady
Y/n*Knitting for Nahida a onesie* Would you please stop arguing with our child...and next Dedron Archon
Alhaitham:...I might as well, I think she's winning...
Kaveh*Coming in and picking her up happily, taking her to the board and giving her the chalk*Aww~Look at you Nahida~Wanna add the point yourself?~
Baby Nahida*Gleefully with her chubby hand draws her four rows and cross them to make it a five...compared to Alhaitham who only has one*!!!~
Alhaitham:...
#genshin impact#genshin impact x reader#genshin#genshin x reader#genshin x y/n#roommates to parents au#genshin nahida#genshin alhaitham#genshin kaveh#alhaitham x reader#alhaitham x y/n#kaveh x reader#kaveh x y/n#alhaitham x reader x kaveh#alhaitham x kaveh#genshin fluff#genshin incorrect quotes#incorrect quotes
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Ninshubur(s), Ilabrat, Papsukkal and the gala: another inquiry into ambiguity and fluidity of gender of Mesopotamian deities
Yesterday Iâve mentioned in passing that despite recommending Dahlia Shehataâs Musiker und ihr vokales Repertoire: Untersuchungen zu Inhalt und Organisation von Musikerberufen und Liedgattungen in altbabylonischer Zeit overall, I have a minor issue with the coverage of Ninshubur in this monograph - specifically with the arguments about the gender of this deity. I figured my problem warrants a more in depth explanation, not just because Iâm the self-proclaimed âbiggest Ninshubur fan not counting Rim-Sin I of Larsaâ.Â
Note that while this is functionally a followup to my recent Inannaâs article, it is not the followup Iâve promised previously; that one will be released at a later date.
To begin with, in a cursory survey of figures who speak in emesal in literary texts, Shehata introduces Ninshubur as a deity equally firmly masculine as Dumuzi (MusikerâŠ, p. 83). This is in itself a problem - when Ninshuburâs gender is specified in sources from the third millennium BCE, the name clearly designates a goddess, not a god (canât get more feminine than being called ama); and even later on she remains a goddess in a variety of sources - including many emesal texts, which is the context most relevant here (Frans Wiggermann, Nin-ĆĄubur, p. 491).
Occasionally arguments are made that a male Ninshubur - explicitly a separate deity from âInannaâs Ninshuburâ as Manfred Krebernik and Jan Lisman recently called her - already existed in the third millennium BCE (The Sumerian Zame Hymns from Tell AbĆ« áčąalÄbÄ«áž«, p. 151), though this is ultimately conjectural.
It is true that the Abu Salabikh god list includes at least two Ninshuburs, but in contrast with later, more informative lists it provides no theological glosses, so we canât be sure that gender is what differentiates them. For all we know it might be a geographic distinction instead - âInannaâs Ninshuburâ from Akkil and the Lagashite Ninshubur associated with Mesmaltaea, perhaps. The one case where we have a text involving two Ninshuburs which we can differentiate has the âgreatâ (gula) Ninshubur from Uruk - âInannaâs Ninshuburâ - and the âsmallâ (banda) Ninshubur from Enegi (Nin-ĆĄubur, p. 500; Ur III period) . The fact that there might be a third Ninshubur entry between the two certain ones in the Abu Salabikh list (The SumerianâŠ, p. 151) doesnât help, either.
This is not to deny the existence of a male Ninshubur altogether. However, this is actually a fairly straightforward phenomenon, with no real ambiguity involved - possibly as early as in the Old Akkadian period, Ninshubur came to be associated with a male messenger deity, Ilabrat, and later on with equally, if not more firmly masculine Papsukkal; at first her name was used as a logogram to write Ilabratâs, and later Papsukkalâs, but eventually it became possible to essentially speak of full replacement (or absorption) of both Ninshubur and Ilabrat by Papsukkal (Nin-ĆĄubur, p. 491-493; Julia M. Asher-Greve, Joan Goodnick Westenholz, Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources, p. 93). Papsukkal even replaces Ninshubur up in the Neo-Assyrian derivative of Inannaâs Descent, written in Akkadian; but he is addressed as a servant of the divine assembly, not the eponymous protagonist of the myth, and the entire mourning and mediation sequence is cut (Wilfred G. Lambert, Introductory Considerations, p. 13). I feel itâs important to stress that in most cases where Ninshuburâs gender cannot be determined this is not due to intentional ambiguity, but rather due to lack of grammatical forms which would make it possible for us - in antiquity all the context needed was presumably available to the reader. Furthermore, in many such cases the ambiguity isnât quite âwhat is Ninshuburâs gender?â but rather âdoes this theophoric name use Ninshubur as a logogram for Ilabrat or Papsukkal?â Thus, Ninshuburâs gender was not ambiguous innately and did not become ambiguous, but rather she was replaced by an originally distinct male deity - her case is thus more comparable to absorption of both male and female deities of specific professions by Enki in god lists form the first millennium BCE, if anything. Even if a separate male Ninshubur existed alongside feminine Ninshubur (or Ninshuburs) even before the entire Ilabrat/Papsukkal situation, weâd still be dealing with a similar phenomenon.
Back to Shehataâs monograph, later on she acknowledges that Ninshubur possessed âa male and female aspectâ (âeinen mĂ€nnlichen wie auch weiblichen Aspektâ) and on this basis suggests a parallel between Ninshubur and the gala (p. 85). The process of conflation of messenger deities is not discussed, instead this interpretation relies on Uri Gabbayâs The Akkadian Word for âThird Genderâ: The kalĂ» (gala) Once Again, which at the time was the most recent treatment of the matter. I wonât go into the details of that article here, since itâs for the most part not relevant (it focuses on the possible etymology of the term gala). What matters here is Gabbayâs novel proposal that Ninshubur was perceived as having the same gender identity as the gala, largely just based on her portrayal as a mourner in Inannaâs Descent and her ability to appease other deities, which was also the purpose of the performances of the gala (The Akkadian WordâŠ, p. 53). The supporting evidence is that some of Ninshuburâs titles use the term lagar, and a single lexical list explains lagar as gala (The Akkadian WordâŠ, p. 54) This is rather vague, and it needs to be pointed out that it has been since established with certainty that in Ninshuburâs case lagar/SAL.ážȘUB2 seems to be a rare, old title with similar meaning to sukkal, and it also could be applied to other deities - ones whose gender never showed any ambiguity - in a similar way (see full discussion in Antoine Cavigneaux, Frans Wiggermann, "Vizir, concubine, entonnoir... Comment lire et comprendre le signe SAL.ážȘUB2? and a brief commentary in The SumerianâŠ, p. 130). Furthermore, earlier in the article Gabbay recognizes the supposed connection between the terms as an error himself (The Akkadian WordâŠ, p. 49).Â
I havenât really seen any authors other than Shehata agreeing with Gabbayâs arguments about Ninshubur; in fact, while I try to keep up with relevant publications, Iâve only seen his points regarding this deity addressed at all otherwise, and quite critically at that. Joan Goodnick Westenholz disagreed with him and pointed out that in addition to Gabbay contradicting himself regarding the term lagar, a fundamental weakness of his proposal is that Ninshubur is never described as a gala (Goddesses in ContextâŠ, p. 93). As a matter of fact no deity is, though you can make a sound case for Lumha, who was a (sparsely attested) divine representation of this profession.Â
A further problem with Gabbayâs argument is that while itâs true gala were first and foremost professional lamenters (and I think any paper which acknowledges this deserves some credit), lamenting was hardly an activity exclusive to them. Paul Delnero considers Ninshuburâs actions in Inannaâs Descent to be a standard over the top portrayal of grief common in Mesopotamian literary texts. In other myths, as well as in laments mourning the destruction of cities or death of deities Geshtinanna, Inanna, Ninisina and other goddesses engage in similar behaviors. He assumes the detailed descriptions of deities wailing, tearing out hair, lacerating and so on were meant to inspire a sense of discomfort and grief in the audience (How to Do Things with Tears, p. 210-214). If Delnero is right - and I see no reason to undermine his argument - Ninshuburâs mourning would have more to do with what sort of story Inannaâs Descent is, not with her character. I suppose Ninshuburâs mourning is unique in one regard, though. She acts about Inannaâs death in the way sisters, mothers or spouses do in the case of Damu, Dumuzi, Lulil etc., despite not actually being her relative. I think there are some interesting implications to explore here, but so far Iâve seen no publications pursuing this topic.
Gabbay is right that Ninshubur and the gala are described as capable of appeasing deities, and especially Inanna, though I also think Westenholz was right to argue that a single shared function is not enough to warrant identification (Goddesses in ContextâŠ, p. 93-94). Itâs also worth noting that similar abilities could be ascribed to multiple types of servant deities, and that Ninshubur was just the most popular member of this category - a veritable major minor deity, if you will - and as a result is much better represented in literary texts. But the likes of Ishum or Nuska appease their respective superiors too, and itâs hard to make a similar case for their gender.
It should also be noted that while Ninshubur ultimately is the main mourner in Inannaâs Descent, Lulal and Shara mourn too (whether equally intensely as Ninshubur is up for debate, but thatâs beside the point); and Dumuzi is expected to, and dies precisely because he doesnât. And the gender of none of these three is ever ambivalent. Furthermore, Gabbayâs argument about Ninshuburâs gender resembling the gala in part rests on treating a single unique source as perhaps more important than in reality - and itâs not necessarily a source relevant to the gala at all. There is only one source where Ninshubur's gender might be intentionally ambiguous. An Old Babylonian hymn describes Ninshubur as a figure dressed in masculine clothing on the right side and feminine on the left (Nin-ĆĄubur, p. 491). This does mirror the description of an unspecified type of cultic performer of unspecified gender mentioned in the famous Iddin-Dagan hymn (âDressed with men's clothing on the right side (...) Adorned (?) with women's clothing on the left sideâ); however, thereâs no indication that a gala is meant in this context. Gabbay doesnât bring up this passage, and assumes that since Ninshuburâs clothing includes both masculine and feminine elements, it is automatically a situation analogous to the unclear gender identity of the gala (The Akkadian WordâŠ, p. 54), though. It might be worth noting that the unique text still uses the feminine emesal form of Ninshuburâs name, Gashanshubur, with no masculine Umunshubur anywhere in sight (Ă
ke W. Sjöberg, Miscellaneous Sumerian Texts, III, p. 72); as far as grammar is concerned, Ninshubur, even if dressed partially masculinely, remains feminine. Perhaps the context is just unclear for us, and the unusual outfit was tied to a specific performance as opposed to a specific gender identity, let alone specifically to ambiguity of gender? Perhaps it would make more sense to assume the text describes Ninshubur (partially) crossdressing (and we do have clear evidence for at least one festival which involved crossdressing from the Old Babylonian period), instead of dealing with gender identity? This is of course entirely speculative, though I think further inquiries are warranted. Itâs also important to stress that however we interpret the identity of the gala - gender nonconforming men, men with some specific uncommon physical feature, nonbinary people (all three have valid arguments behind them, and itâs also not impossible the exact meaning varied across time and space) - they pretty clearly did not alternate between a firmly feminine identity and a firmly masculine one. Even if we were to incorrectly treat Ninshubur as a single deity whose gender alternates between male and female, I donât think there would be a strong reason to draw parallels - unless you want to lump together what might very well been a specific nonbinary identity, and an instance of genderfluidity involving two firmly binary genders. I donât really think these are phenomena which can be lumped together; and neither necessarily has much to do with presentation. And all we ultimately have in Ninshuburâs case is an isolated case of unusual presentation - nothing more, nothing less.
Once again, this short article is not intended as a warning against using Shehataâs book - itâs very rigorous overall, and a treasure trove of interesting information. Itâs also not supposed to discredit Gabbayâs studies of the gala - I donât necessarily fully agree with his conclusions, but Iâve depended on his articles in the past myself, after all.
The article also isnât intended as an argument against inquiries into the gender of deities, Ninshubur included, or the gala, or any other religious specialists whose gender is unclear. However, it is vital to approach the evidence rigorously and put it into a broader context.
This is particularly significant since the gender of deities is not necessarily fully identical with the gender of humans, and its changes could be brought by processes which hardly have real life parallels - this requires both additional caution, and a careful case by case approach. It would be difficult for a woman to be conflated into one being with two men in the same profession, which is essentially what happened to Ninshubur, just like it would be hard for someoneâs gender to be defined by the fact they were viewed as the personification of a specific astral body, as in the case of Ninsianna and Pinikir, who I discussed previously. And, of course, these two cases have little in common with each other. In the final article in this mini-series, I will look into some yet more esoteric cases of shifts in gender of Mesopotamian deities, to hopefully strengthen my point.
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Learning from the beacon ama that both Noshir AND Abu's first pick for downfall was Asmodeus is so funny to me. Everyone wants to be him <3
Unfortunately for them, there can only be one Lord of the Hells, and his name is Brennan Lee Mulligan.
#cr spoilers#critical role spoilers#cr downfall#beacon#beacon ama#cr asmodeus#the lord of the hells#asmodeus cr
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Intro. 00:00 Wojciech Golczewski-Otherworld 00:41
Survey Channel-Moss Tilt 03:39
Subphotic-The Sitting Tree 05:12
Chapter 1 12:26 Drapizdat, Reather Weport-Pattern #5 14:59
Minimal Drone*GRL-Lady Of The Mountains 17:56
Hyperlink Dream Sync-Galaxy Structure 22:42
MiDi BiTCH-Unearthly 26:48
Panama Fleets-Zealandia 31:25
Abu Ama + BedouinDrone-Leptis Magna 35:41
Chapter 2 49:03 Lo Five-Unbecoming You 50:58
Time Rival-Redox 55:41
Eje Eje-Saved From The Jazz (Spring) 58:26
Hello Meteor-Waterproof Thoughts 1:01:57
S U R V I V E-Hourglass 1:05:28
Depeche Mode-Don't Say You Love Me 1:09:48
Chapter 3 1:13:19 Vic Mars-Holloways 1:14:59
Pabellón Sintético-Ludwing 1:19:32
Joel Grind-Fallen Metropolis 1:28:27
ATA Records-Pineapple Diode Daiquiri 1:32:18
Mary Lattimore, Roy Montgomery-Blender in a Blender 1:34:45
Off Land-Numbers Station 1:41:04
Chapter 4 1:47:42 Robohands-Palms 1:49:33
Conflux Coldwell-Earth Sea and Sky 1:52:17
Outro 5 1:57:20
Album of background soundscapes by me
#Wojciech Golczewski#Invada#Survey Channel#Music Is The Devil#Subphotic#Drapizdat#Reather Weport#Not Not Fun Records#Minimal Drone*GRL#Bricolage#Hyperlink Dream Sync#Fonolith#business casual#MiDi BiTCH#Cyclical Dreams#Panama Fleets#Abu Ama + BedouinDrone#Mahorka#Unexplained Sounds Group#Lo Five#Castles in Space Subscription Library#Castles In Space#Time Rival#Triplicate Records#Eje Eje#Batov Records#Hello Meteor#S U R V I V E#Holodeck Records#Depeche Mode
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List of Mesopotamian deitiesâš
Mesopotamian legendary beasts âš
âBattle Bison beast - one of the creatures slain by Ninurta
âThe eleven mythical monsters created by TiÄmat in the Epic of Creation, EnĂ»ma EliĆĄ:
âBaĆĄmu, âVenomous Snakeâ
âUĆĄumgallu, âGreat Dragonâ
âMuĆĄmaáž«áž«Ć«, âExalted Serpentâ
âMuĆĄáž«uĆĄĆĄu, âFurious Snakeâ
âLaáž«mu, the âHairy Oneâ
âUgallu, the âBig Weather-Beastâ
âUridimmu, âMad Lionâ
âGirtablullĂ», âScorpion-Manâ
âUmĆ« dabrĆ«tu, âViolent Stormsâ
âKulullĂ», âFish-Manâ
âKusarikku, âBull-Manâ
Mesopotamian Spirits and demons âš
âAlĂ», demon of night
âAsag - monstrous demon whose presence makes fish boil alive in the rivers
âAsakku, evil demon(s)
âThe edimmu - ghosts of those who were not buried properly
âGallĂ», underworld demon
âHanbi or Hanpa - father of Pazuzu
âHumbaba - guardian of the Cedar Forest
âLamashtu - a malevolent being who menaced women during childbirth
âLilĂ», wandering demon
âMukÄ«l rÄĆĄ lemutti demon of headaches
âPazuzu - king of the demons of the wind; he also represented the southwestern wind, the bearer of storms and drought
âRabisu - an evil vampiric spirit
âïżœïżœulak the bathroom demon, âlurkerâ in the bathroom
âZu - divine storm-bird and the personification of the southern wind and the thunder clouds
Mesopotamian Demigods and Heroes âš
âAdapa - a hero who unknowingly refused the gift of immortality
âThe Apkallu - seven demigods created by the god Enki to give civilization to mankind âGilgamesh - hero and king of Uruk; central character in the Epic of Gilgamesh
âEnkidu - hero and companion of Gilgamesh
âEnmerkar - the legendary builder of the city of Uruk
âLugalbanda - second king of Uruk, who ruled for 1,200 years
âUtnapishtim - hero who survived a great flood and was granted immortality; character in the Epic of Gilgamesh
Mesopotamian Primordial beingsâš
âAbzu - the Ocean Below, the name for fresh water from underground aquifers; depicted as a deity only in the Babylonian creation epic EnĂ»ma EliĆĄ
âAnshar - god of the sky and male principle
âKishar - goddess of the earth and female principle
âKur - the first dragon, born of Abzu and Ma. Also Kur-gal, or Ki-gal the underworld
âLahamu - first-born daughter of Abzu and Tiamat
âLahmu - first-born son of Abzu and Tiamat; a protective and beneficent deity
âMa -primordial goddess of the earth
âMummu - god of crafts and technical skill
âTiamat - primordial goddess of the ocean
Mesopotamian Minor deitiesâš
This is only some of them. There are thousands.
Abu - a minor god of vegetation
Ama-arhus - Akkadian fertility goddess; later merged into Ninhursag
Amasagnul - Akkadian fertility goddess
Amurru - god of the Amorite people
An - a goddess, possibly the female principle of Anu
Arah - the goddess of fate.
Asaruludu or Namshub - a protective deity
Ashnan - goddess of grain
Aya - a mother goddess and consort of Shamash
Azimua - a minor Sumerian goddess
Bau - dog-headed patron goddess of Lagash
Belet-Seri - recorder of the dead entering the underworld
Birdu - an underworld god; consort of Manungal and later syncretized with Nergal
Bunene - divine charioteer of Shamash
Damgalnuna - mother of Marduk
Damu - god of vegetation and rebirth; possibly a local offshoot of Dumuzi
Emesh - god of vegetation, created to take responsibility on earth for woods, fields, sheep folds, and stables
Enbilulu - god of rivers, canals, irrigation and farming
Endursaga - a herald god
Enkimdu - god of farming, canals and ditches
Enmesarra - an underworld god of the law, equated with Nergal
Ennugi - attendant and throne-bearer of Enlil
Enshag - a minor deity born to relieve the illness of Enki
Enten - god of vegetation, created to take responsibility on earth for the fertility of ewes, goats, cows, donkeys, birds
Erra - Akkadian god of mayhem and pestilence
Gaga - a minor deity featured in the Enûma Eliƥ
Gatumdag - a fertility goddess and tutelary mother goddess of Lagash
Geshtinanna - Sumerian goddess of wine and cold seasons, sister to Dumuzid
Geshtu-EÂ - minor god of intelligence
Gibil or Gerra - god of fire
Gugalanna - the Great Bull of Heaven, the constellation Taurus and the first husband of Ereshkigal
Gunara - a minor god of uncertain status
Hahanu - a minor god of uncertain status
Hani - an attendant of the storm god Adad
Hayasum - a minor god of uncertain status
Hegir-Nuna - a daughter of the goddess Bau
Hendursaga - god of law
Ilabrat - attendant and minister of state to Anu
Ishum - brother of Shamash and attendant of Erra
Isimud - two-faced messenger of Enki
Iƥtaran - god of the city of Der (Sumer)
Kabta - obscure god âLofty one of heavenâ
Kakka - attendant and minister of state to both Anu and Anshar
Kingu - consort of Tiamat; killed by Marduk, who used his blood to create mankind
Kubaba - tutelary goddess of the city of Carchemish
Kulla - god of bricks and building
Kus (god)Â - god of herdsmen
Lahar - god of cattle
Lugal-Irra - possibly a minor variation of Erra
Lulal - the younger son of Inanna; patron god of Bad-tibira
Mamitu - Sumerian goddess of fate
Manungal - an underworld goddess; consort of Birdu
Mandanu -god of divine judgment
Muati - obscure Sumerian god who became syncretized with Nabu
Mushdamma - god of buildings and foundations
Nammu - a creation goddess
Nanaya - goddess personifying voluptuousness and sensuality
Nazi - a minor deity born to relieve the illness of Enki
Negun - a minor goddess of uncertain status
Neti - a minor underworld god; the chief gatekeeper of the netherworld and the servant of Ereshkigal
Nibhaz - god of the Avim
Nidaba - goddess of writing, learning and the harvest
Namtar - minister of Ereshkigal
Nin-Ildu - god of carpenters
Nin-imma - goddess of the female sex organs
Ninazu - god of the underworld and healing
Nindub - god associated with the city Lagash
Ningal - goddess of reeds and consort of Nanna (Sin)
Ningikuga - goddess of reeds and marshes
Ningirama - god of magic and protector against snakes
Ningishzida - god of the vegetation and underworld
Ninkarnunna - god of barbers
Ninkasi - goddess of beer
Ninkilim - "Lord Rodent" god of vermin
Ninkurra - minor mother goddess
Ninmena - Sumerian mother goddess who became syncretized with Ninhursag
Ninsar - goddess of plants
Ninshubur - Sumerian messenger goddess and second-in-command to Inanna, later adapted by the Akkadians as the male god Papsukkal
Ninsun - "Lady Wild Cow"; mother of Gilgamesh
Ninsutu - a minor deity born to relieve the illness of Enki
Nintinugga - Babylonian goddess of healing
Nintulla - a minor deity born to relieve the illness of Enki
Nu Mus Da - patron god of the lost city of Kazallu
Nunbarsegunu - goddess of barley
Nusku - god of light and fire
PabilsaÄ - tutelary god of the city of Isin
Pap-nigin-gara - Akkadian and Babylonian god of war, syncretized with Ninurta
Pazuzu - son of Hanbi, and king of the demons of the wind
Sarpanit - mother goddess and consort of Marduk
The Sebitti - a group of minor war gods
Shakka - patron god of herdsmen
Shala - goddess of war and grain
Shara - minor god of war and a son of Inanna
Sharra Itu - Sumerian fertility goddess
Shul-pa-e - astral and fertility god associated with the planet Jupiter
Shul-utula - personal deity to Entemena, king of the city of Eninnu
Shullat - minor god and attendant of Shamash
Shulmanu - god of the underworld, fertility and war
Shulsaga - astral goddess
Sirara - goddess of the Persian Gulf
Siris - goddess of beer
Sirsir - god of mariners and boatmen
Sirtir - goddess of sheep
Sumugan - god of the river plains
Tashmetum - consort of Nabu
Tishpak - tutelary god of the city of Eshnunna
Tutu - tutelary god of the city of Borsippa
Ua-Ildak - goddess responsible for pastures and poplar trees
Ukur - a god of the underworld
Uttu - goddess of weaving and clothing
Wer - a storm god linked to Adad
Zaqar - messenger of Sin who relays communication through dreams and nightmares
Mesopotamian Major Deitiesâš
Hadad (or Adad) - storm and rain god
Enlil (or Ashur) - god of air, head of the Assyrian and Sumerian pantheon
Anu (or An) - god of heaven and the sky, lord of constellations, and father of the gods
Dagon (or Dagan) - god of fertility
Enki (or Ea) - god of the Abzu, crafts, water, intelligence, mischief and creation and divine ruler of the Earth and its humans
Ereshkigal - goddess of Irkalla, the Underworld
Inanna (later known as Ishtar) - goddess of fertility, love, and war
Marduk - patron deity of Babylon who eventually became regarded as the head of the Babylonian pantheon
Nabu - god of wisdom and writing
Nanshe - goddess of prophecy, fertility and fish
Nergal - god of plague, war, and the sun in its destructive capacity; later husband of Ereshkigal
Ninhursag (or Mami, Belet-Ili, Ki, Ninmah, Nintu, or Aruru) - earth and mother goddess
Ninlil - goddess of the air; consort of Enlil
Ninurta - champion of the gods, the epitome of youthful vigor, and god of agriculture
Shamash (or Utu) - god of the sun, arbiter of justice and patron of travelers
Sin (or Nanna) - god of the moon
Tammuz (or Dumuzid) - god of food and vegetation
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Boycott!
Now that I have your attention:
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Maybe David's nose is still not perfect, but let's be honest, it looks better than before⊠(When I finish the third work, including him and the Halloween art with Ghost, I will add it to the art blog)
(No, this is not an advertisement, the main reason is because I can add additional tags, that's the reason)
Remember to collect!
#israel#cartoon#cartoonist#free gaza#gaza#israel is a terrorist state#free palestine#palestina#palestine#gravity falls#artists on tumblr#halloween#spooky season#jumblr#jewblr#ocs#my ocs#oc artist#steven universe#su#bluey cartoon#bandit heeler#gaza strip#billford#the book of bill#stranger things#netfix#taylor swift#lana del rey#save the children
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From the River to the Sea
every street, every house, every room, every window, every balcony, every wall, every stone, every sorrow, every word, every letter, every whisper, every touch, every glance, every kiss, every tree, every spear of grass, every tear, every scream, every air, every hope, every supplication, every secret, every well, every prayer, every song, every ballad, every book, every paper, every color, every ray, every cloud, every rain, every drop of rain, every drip of sweat, every lisp, every stutter, every yamma, mother, every yaba, father, every shadow, every light, every little hand that drew in a little notebook a tree or house or heart or a family of a father, a mother, siblings, and pets, every longing, every possibility, every letter between two lovers that arrived or didnât arrive, every gasp of love dispersed in the distant clouds, every moment of despair at every turn, every suitcase on top of every closet, every library, every shelf, every minaret, every rug, every bell toll in every church, every rosary, every holy praise, every arrival, every goodbye, every Good Morning, every Thank God, every âala rasi, my pleasure, every hill âan samaâi, leave me alone, every rock, every wave, every grain of sand, every hair-do, every mirror, every glance in every mirror, every cat, every meow, every happy donkey, every sad donkeyâs gaze, every pot, every vapor rising from every pot, every scent, every bowl, every school queue, every school shoes, every ring of the bell, every blackboard, every piece of chalk, every school costume, every mabruk ma ijakum, congratulations on the baby, every y âawid bi-salamtak, condolences, every âayn al- ងasud tibla bil-âama, may the envious be blinded, every photograph, every person in every photograph, every niyyalak, how lucky, every ishtaânalak, weâve missed you, every grain of wheat in every birdâs gullet, every lock of hair, every hair knot, every hand, every foot, every football, every finger, every nail, every bicycle, every rider on every bicycle, every turn of air fanning from every bicycle, every bad joke, every mean joke, every laugh, every smile, every curse, every yearning, every fight, every sitti, grandma, every sidi, grandpa, every meadow, every flower, every tree, every grove, every olive, every orange, every plastic rose covered with dust on an abandoned counter, every portrait of a martyr hanging on a wall since forever, every gravestone, every sura, every verse, every hymn, every ងajj mabrur wa sa âyy mashkur, may your ងajj and effort be rewarded, every yalla tnam yalla tnam, every lullaby, every red teddy bear on every Valentineâs, every clothesline, every hot skirt, every joyful dress, every torn trousers, every days-spun sweater, every button, every nail, every song, every ballad, every mirror, every peg, every bench, every shelf, every dream, every illusion, every hope, every disappointment, every hand holding another hand, every hand alone, every scattered thought, every beautiful thought, every terrifying thought, every whisper, every touch, every street, every house, every room, every balcony, every eye, every tear, every word, every letter, every name, every voice, every name, every house, every name, every face, every name, every cloud, every name, every rose, every name, every spear of grass, every name, every wave, every grain of sand, every street, every kiss, every image, every eye, every tear, every yamma, every yaba, every name, every name, every name, every name, every name, every name, every name, every name, allâŠ
-âFrom the River to the Sea.â A Poem by Samer Abu Hawwash, translated by Huda Fakhreddine
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