#shabaka stone

[aboutanancientenquiry]

The Shabaka Stone ("Memphite Theology")

The Shabaka or Shabako Stone (ca 710 BCE, currently in the British Museum, Museum number EA498)

According to the description of the British Museum:

Conglomerate stela, rectangular, subsequently re-used as a nether millstone: two horizontal registers of hieroglyphs records the names of Shabako and the 'perhaps ancient fiction' of his attempt to preserve an ancient text from further deterioration or destruction; below these are sixty vertical registers of hieroglyphs, some substantially damaged by the action of grinding flour, which record the 'Memphite Theology' or creation myth, a text perhaps originally composed during the New Kingdom, in which Ptah is responsible for the creation of all things by means of the spoken word.

Dimensions

Height: 95 centimetres (max) 

 Weight: 585 kilograms

Width: 137 centimetres (max)

Depth: 20.50 centimetres

[meluhha]

spirituality in ancient EGYPT

The earliest evidence of spirituality in ancient Egypt dates back to the Pre-dynastic period, around 5000-3100 BCE. During this time, the people of Egypt practiced a form of animism, in which they believed that everything in the world, including inanimate objects, possessed a spirit or life force. This belief is evident from the various amulets and figurines found in the archaeological record, as well as in the elaborate burial practices that were developed during this period. As time passed, the religion of Egypt evolved and became more complex, with the emergence of gods and goddesses associated with different aspects of the natural world, such as the sun, the river Nile, and the afterlife. 

Mummification began in ancient Egypt around 3500 BCE and continued until the end of the Pharaonic era in 332 BCE, with the conquest of Egypt by Alexander the Great. However, mummification was not practiced continuously throughout this time period, and the methods and extent of mummification varied over time. The peak period for mummification was during the New Kingdom (1550-1070 BCE).

Some of the earliest known deities from Egypt's pre-dynastic period (c. 5500–3100 BCE) include:

Set: Originally worshipped as a god of the desert and chaos, Set was later demonized as a god of evil and chaos.

Horus: A sky god and god of kingship, Horus was one of the most important deities in ancient Egypt. He was often depicted as a falcon or as a man with a falcon head.

Hathor: A goddess of love, fertility, and joy, Hathor was often depicted as a cow or as a woman with cow's horns and ears.

Anubis: A god of mummification and the afterlife, Anubis was often depicted as a jackal or as a man with a jackal head.

Osiris: A god of the afterlife, Osiris was one of the most important gods in ancient Egypt. He was often depicted as a mummy or as a man with a green skin.

By 3200 BCE, The ancient Egyptians developed their own system of writing called hieroglyphs, which was primarily used for religious texts and inscriptions on temple walls and tombs.

Ka & Ba

In ancient Egyptian religion, the ka was a concept that referred to an individual's life force or spiritual essence. The ka was believed to be an essential component of an individual's identity, and was thought to be created by the gods at the moment of their birth.

The earliest evidence of the concept of the ka comes from the Old Kingdom period (c. 2686–2181 BCE) and is found in the Pyramid Texts. These texts, inscribed on the walls of the pyramids of pharaohs, contain spells and incantations intended to aid the deceased in the afterlife.

In the Pyramid Texts, the ka is described as the "double" of an individual, and is often depicted as a person's shadow. It was believed to be a kind of spiritual twin, which could leave the body at will and travel to other realms, including the afterlife. The ka was also thought to be nourished by offerings of food and drink, which were left at the tomb of the deceased.

Over time, the concept of the ka became more complex and was linked to the concept of the ba, which was another aspect of an individual's spiritual identity. The ba was associated with the idea of personal transformation and was often depicted as a bird with a human head. Together, the ka and ba were thought to constitute an individual's spiritual essence and were essential for their survival in the afterlife.

Ma’at

Ma'at is an ancient Egyptian concept that encompasses the principles of truth, balance, justice, order, and harmony. It was one of the most important and central concepts in ancient Egyptian religion and philosophy, and was considered essential to the functioning of the universe, society, and individual life. The concept of Ma'at has a long history in ancient Egyptian culture, and its origins can be traced back to the Old Kingdom period (c. 2686-2181 BCE).

The term "Ma'at" itself refers to both the concept of order and the goddess of Ma'at, who was one of the most important deities in the Egyptian pantheon. As the goddess of truth and justice, Ma'at was responsible for maintaining the balance and harmony in the universe, and for ensuring that people acted in accordance with ethical and moral principles. She was often depicted as a woman with a feather on her head, and was associated with the scales of justice.

The principles of Ma'at were reflected in many aspects of ancient Egyptian society, including law, politics, and religion. The Pharaoh, for example, was considered the embodiment of Ma'at on earth, and was responsible for upholding the principles of justice, order, and harmony in society. The ancient Egyptians also believed that the dead were judged according to the principles of Ma'at, and that their souls would be weighed against her feather in the afterlife.

The concept of Ma'at was also closely linked to the ancient Egyptian belief in the cyclical nature of time and the universe. The Egyptians believed that the universe was created and destroyed in a continuous cycle, and that the principles of Ma'at were essential for maintaining the balance and order in this cycle. This belief in cyclical time was reflected in the Egyptian calendar, which was based on the annual flooding of the Nile River and the cycles of the sun and moon.

Over time, the concept of Ma'at evolved and became more complex. During the Middle Kingdom period (c. 2055-1650 BCE), for example, the principle of Ma'at was extended to include social justice, and the idea that people should treat each other with fairness and respect. The concept of Ma'at also played an important role in the development of ancient Egyptian theology, and was linked to the concept of the divine order, or the cosmic plan for the universe.

Heliopolitan Creation Myth

The most ancient creation myth of Egypt is known as the Heliopolitan creation myth, which originates from the city of Heliopolis in Lower Egypt. It dates back to the Old Kingdom period (2686-2181 BCE) and was later popularized in the Middle Kingdom (2055-1650 BCE) by the priests of Heliopolis.

According to the Heliopolitan creation myth, the world began as a swirling mass of chaos and formlessness called Nun. From Nun emerged a sacred mound, on top of which the god Atum appeared. Atum then created his children Shu (the god of air) and Tefnut (the goddess of moisture), who in turn had two children, Geb (the god of the earth) and Nut (the goddess of the sky). Geb and Nut had four children, Osiris, Isis, Set, and Nephthys.

The creation of the world was not just a physical act, but also a spiritual one. Atum was believed to have created the first pair of humans, Shu and Tefnut, through the power of his own divine essence. Humans were believed to have been created to worship and serve the gods, and to maintain ma'at, the cosmic balance of order and harmony.

The Heliopolitan creation myth was a central part of Egyptian religious belief throughout much of its history. It influenced the way Egyptians thought about the nature of the universe and their place within it.

MEDITATION

Maxims of Ptahhotep (5th dynasty ( 2498 BCE to 2345 BCE))

This is an ancient Egyptian literary work that contains wisdom and advice on a range of topics, including social etiquette and leadership in which one of the recurring themes is the importance of listening to others and being still in order to gain knowledge and wisdom.

For example, in other sections, Ptahhotep advises, "Be silent when you hear speech until you know how to reply. Then you will increase your knowledge, and your words will be worth more than theirs." (Maxim 14). "Be silent when you hear a word, and do not rise up against it." (Maxim 17)

In another section, he says, "If you desire to listen to the words of others, then sit down and listen attentively. Do not interrupt them, for it is not polite to speak before one who is greater than you in position or age." (Maxim 19)

These maxims emphasize the value of being patient and respectful in social interactions, and suggest that by doing so, one can gain knowledge and wisdom from others.

Pyramid Texts (5th & 6th dynasty (c. 2400-2300 BCE))

In this collection of ancient Egyptian religious texts, there are references to a practice called "standing still," which involves remaining motionless and focusing the mind. The texts describe this practice as a way to commune with the gods and gain spiritual insight.

Story of Sinuhe (12th dynasty (around 1950 BCE to 1800 BCE))

One part mentions that when Sinuhe was living among nomads, he spends much of his time alone, contemplating the beauty of the desert and the stars. He also engages in physical exercises and breathing techniques that help him achieve a state of calm and inner peace.

Additionally, there are several scenes in which Sinuhe is described as sitting quietly and reflecting on his life and his place in the world. In one such scene, he says: "I sat in the temple, thinking of my life. I pondered on the things that had happened to me, and I said to myself: 'What is life but a shadow, a dream that passes?'"

In addition, there are depictions of figures in seated postures with their eyes closed or half-closed, which could be interpreted as meditative states. For example, the god Osiris is often depicted in a seated posture with his eyes half-closed, which is thought to represent a state of deep contemplation and spiritual insight.

NON DUALITY

The Pyramid Texts, which date back to the Old Kingdom (c. 2686-2181 BCE), contain many passages that suggest a belief in non-duality, such as references to the unity of the king with the gods, the merging of different elements (e.g. water and sky), and the idea that the dead become one with the cosmos.

The concept of Ma'at, which was central to Egyptian religion from at least the Old Kingdom period, represents the idea of cosmic order and balance. It suggests a belief in the interconnectedness of all things and the importance of living in harmony with the natural world.

The Coffin Texts, which date to the Middle Kingdom (c. 2055-1650 BCE), contain many references to the idea of the soul being united with various gods, suggesting a belief in the unity of all things.

Pyramid Text references:

Pyramid Texts contain several references to the universe and the cosmos, as they were believed to be closely linked to the afterlife and the journey of the deceased.

One of the most famous examples is the creation story in Utterance 600, which describes the emergence of the universe from the primeval waters of chaos. In this text, the god Atum is described as a self-created being who rises from the waters and brings forth the other gods and the world around them.

Other Utterances in the Pyramid Texts describe the sky and its various components, such as the sun, moon, and stars. For example, Utterance 518 describes the sun god Ra as traveling through the sky on his solar barque, while Utterance 417 describes the stars as the "imperishable ones" who guide the deceased on their journey through the afterlife.

Shabaka Stone

The Shabaka stone is an ancient Egyptian artifact, dated to the 25th dynasty (c. 750-656 BCE), which contains a version of the creation myth known as the Memphite Theology. The stone is named after King Shabaka, who had the text inscribed on it in order to preserve it for future generations.

According to the Memphite Theology, the creator god Ptah spoke the world into existence by uttering a series of magical words. The universe was created through the power of his speech and his heart, which was seen as the source of his creative energy. Ptah was also associated with craftsmen and artisans, and was said to have fashioned the world like a skilled artist.

The text goes on to describe how other gods and goddesses were created from various parts of Ptah's body, including the god Atum who emerged from his mouth. Atum then went on to create the world and everything in it, including other gods and humans.

The Shabaka stone version of the Memphite Theology is one of the most complete and well-preserved examples of this creation myth, and provides important insights into ancient Egyptian beliefs about the origins of the universe and the role of the gods in its creation.

[egypt-museum]

Shabaka Stone

Conglomerate stela, rectangular, subsequently re-used as a nether millstone. Two horizontal registers of hieroglyphs records the names of Shabaka and the 'perhaps ancient fiction' of his attempt to preserve an ancient text from further deterioration or destruction. Below these are sixty vertical registers of hieroglyphs, some substantially damaged by the action of grinding flour, which record the 'Memphite Theology' or creation myth, a text perhaps originally composed during the New Kingdom, in which Ptah is responsible for the creation of all things by means of the spoken word.

In 1901, the stone was deciphered, translated, and interpreted for the first time by the American Egyptologist, James Henry Breasted.

Third Intermediate Period, 25th Dynasty, ca. 722 BC. Now in the British Museum. EA498

[pissmaster228]

Serapeum's name makes more sense once I've actually woken her up. TL DR It's a temple to a fusion god (created to legitimize an empire) made of ritually sacrificed bulls and the god of the dead and rebirth. The earliest serapeum had a daughter library of the Library of Alexandria.

From Wikipedia:

A serapeum is a temple or other religious institution dedicated to the syncretic Greco-Egyptian deity Serapis, who combined aspects of Osiris and Apis in a humanized form that was accepted by the Ptolemaic Greeks of Alexandria.

Serapis or Sarapis is a Graeco-Egyptian god. A syncretic deity derived from the worship of the Egyptian Osiris and Apis, Serapis was extensively popularized in the third century BC on the orders of Greek Pharaoh Ptolemy I Soter, as a means to unify the Greek and Egyptian subjects of the Ptolemaic Kingdom.

The cultus of Serapis was spread as a matter of deliberate policy by subsequent Ptolemaic kings. Serapis continued to increase in popularity during the Roman Empire, often replacing Osiris as the consort of Isis in temples outside Egypt. Alongside his Egyptian roots he gained attributes from other deities, such as chthonic powers linked to the Greek Hades and Demeter, and benevolence derived from associations with Dionysus.

The Serapeum of Alexandria in the Ptolemaic Kingdom was an ancient Greek temple built by Ptolemy III Euergetes (reigned 246–222 BC) and dedicated to Serapis, who was made the protector of Alexandria, Egypt. There are also signs of Harpocrates. It has been referred to as the daughter of the Library of Alexandria.

Ptolemy I Soter ordered the construction of the first temple dedicated to Serapis. It appears that it was a simple and modest building. Ptolemy introduced the cult of this god. Ptolemy III expanded it, at the same time as he ordered the construction of the Library of Alexandria. Starting with the Roman emperor Claudius (emperor from 41 AD to 54 AD), the temple evolved and took on the dimensions of a large sanctuary, until it reached 185 by 92 meters. In this way, the Alexandrian acropolis was embellished with a series of buildings: in addition to the aforementioned temple and library, the temple of Anubis, that of Isis, the necropolis of sacred animals, the obelisks of Seti I and the great column of Serapis, which was still standing in the 3rd century, were added.

The Serapeum of Saqqara was the ancient Egyptian burial place for sacred bulls of the Apis cult at Memphis. It was believed that the bulls were incarnations of the god Ptah, which would become immortal after death as Osiris-Apis. a name which evolved to Serapis.

Ptah is an Egyptian creator god who conceived the world and brought it into being through the creative power of speech. A hymn to Ptah dating to the Twenty-second Dynasty of Egypt says Ptah "crafted the world in the design of his heart," and the Shabaka Stone, from the Twenty-Fifth Dynasty, says Ptah "gave life to all the gods and their kas as well, through this heart and this tongue."

ka=soul, essence of life

[noloveforned]

friday always seems like a blur to me between work, home and radio but somehow by the end of the day a radio show full of new music has aired. tune into wlur tonight from 8pm until midnight to see what materializes! if that's inconvenient, you can catch up with last week's show below at your leisure.

no love for ned on wlur – march 17th, 2023 from 10pm-midnight

artist // track // album // label ramones // the job that ate my brain // mondo bizarro // chrysalis the runaways // california paradise // queens of noise // mercury the cool greenhouse // the neoprene ravine // sod's toastie // melodic lumpy and the dumpers // too much slime // collection, 2012-2014 // lumpy fastbacks // a quiet night // a quiet night 7" // no threes the coolies // king of confusion // if you gotta go-go, go-go now- a tribute to the go-go's // sympathy for the record industry lenz // moody michelle // ways to end a day // 1-2-3-4 go! the younger lovers // i can't (kim) deal with it // sugar in my pocket // southpaw the bug club // love for two // green dream in f# // we are busy bodies garden centre // super moon // a moon for digging // kanine sharp pins // bettie wait // turtle rock cassette // hallogallo tapes squilll // scripted lines // daughters of the earth // lost sound tapes black belt eagle scout // nobody // the land, the water, the sky // saddle creek ulaan passerine // light of lights // dawn // worstward antonina nowacka // part one // lamunan // mondoj cole pulice // astral cowpoke // scry cassette // moon glyph benji b, raven bush, theon cross, nubya garcia, tom herbert, shabaka hutchings, nikolaj torp larsen, dave okumu, nick ramm, dan see, tom skinner and martin terefe // raven flies low (single edit) // london brew // concord jazz larry young // sunshine fly away // lawrence of newark // perception tony williams // there comes a time // play or die // moosicus cortex // prélude à go round // troupeau bleu // trad vibes wiki and subjxct five featuring navy blue // one more chance // cold cuts // wikset enterprise boldy james and nicholas craven // scrabble // fair exchange no robbery // near mint yl, starker and no-face // friday night lights // lo.face // circle of patrons demahjiae featuring ovrkast. // lord // lord digital single // (self-released) nappy nina featuring moor mother // stone soup // mourning due // lucidhaus vérité // temporary // love you forever // venice music liberation // move me // liberation // night school say sue me // smothered in hugs // ten ep // damnably nicholas krgovich // cup full // ducks // orindal sierra manhattan featuring jokari // losing // which life, the friends // another cozy slippers // be alone with me // cozy slippers // subjangle the telephone numbers // weird sisters // weird sisters 7" // meritorio

[blackberryjambaby]

tagged by the lovely @macbethwitches to share five of my favourite songs at the moment 🎧🫀 in no particular order they are:

1. you know who i am (leonard cohen)

2. sever the blight (hemlocke springs)

3. piano concerto no.2 (chopin)

4. they who must die (shabaka & the ancestors)

5. god is in the radio (queens of the stone age)

i'm tagging @squitsquid @lllinens @itssquash & @honeyandgray 🫀🌟🎧

[sunnyapollonjabrigidotter]

One well-known quote that refers to Ptah comes from the Shabaka Stone, an ancient Egyptian text that describes the creation of the world:

"Ptah, the great, is the heart and tongue of the Ennead, the creator of the gods, the one who gives life to all that exists. He is the mind that conceived creation, and his words are the means by which everything came into being."

This quote emphasizes Ptah's role as a creator god, who, through thought (the heart) and speech (the tongue), brought the universe and all living things into existence.

The name "Ptah" in ancient Egyptian is believed to mean "the Opener" or "the Creator." This interpretation is rooted in Ptah's role as a creator god who "opened" or brought the world into existence. He was associated with creation through thought and speech, crafting the physical world and the gods themselves by his divine will. The name underscores his power as the force that initiates and brings forth life and existence.

***

The connection between the name "Egypt" and the term "Aegis" (goat skin) in relation to Ptah is a fascinating aspect of etymology and ancient cultural interpretation.

### The Etymology of "Egypt":

- The name "Egypt" comes from the Greek "Aígyptos" (Αἴγυπτος), which itself is derived from the ancient Egyptian name "Hwt-Ka-Ptah" (⟨ḥwt-kȝ-ptḥ⟩), meaning "The House of the Ka (spirit) of Ptah." This was originally the name of the temple complex in Memphis, the center of Ptah's worship. Over time, this name came to be associated with the entire country.

### The Aegis Connection:

- The "Aegis" in Greek mythology is often described as a protective cloak or shield, traditionally made from the hide of a goat, associated with Zeus and Athena. The term "Aegis" symbolizes protection and power.

- The association between Ptah and the concept of "Aegis" might be more symbolic or interpretative, reflecting Ptah's role as a protector and creator. While there isn't a direct textual link in ancient sources that explicitly states "Aegis" derives from Ptah, the Greeks often drew connections between their own gods and foreign deities, interpreting and adapting foreign symbols within their own framework.

### Symbolic Interpretation:

- In a symbolic sense, Ptah as the creator could be seen as a figure of divine protection, similar to how the Aegis is a symbol of protection in Greek mythology. The idea that the name "Egypt" (Aígyptos) could be linked to the protective and creative powers of Ptah through the notion of the Aegis could be a fascinating interpretative blending of Egyptian and Greek concepts. (???)

Ah, I see what you're getting at! You're exploring the idea that "Aígyptos" (the Greek name for Egypt) could be interpreted as the "dwelling" or "protector" of Ptah, which is a fascinating way to think about the connection.

### Egypt as the "House of Ptah":

- The Greek name "Aígyptos" is derived from the Egyptian "Hwt-Ka-Ptah," meaning "House of the Ka (spirit) of Ptah." This name originally referred to the temple complex in Memphis but eventually became associated with the entire country of Egypt. In this context, Egypt can indeed be seen as the "dwelling" or "house" of Ptah.

### Ptah as Protector:

- Ptah was a major deity in Egyptian religion, particularly in Memphis, where he was considered the creator god and a protector of the city and its people. As the creator, Ptah was seen as a divine craftsman who not only created the world but also maintained its order, providing protection through his creative powers.

### Egypt as the Land Protected by Ptah:

- The idea that Egypt, as "Hwt-Ka-Ptah," could be understood as the land protected by Ptah aligns with his role as a guardian deity. The name could metaphorically imply that Egypt is under the divine protection of Ptah, making him both the creator and the protector of the land.

### Symbolic Interpretation:

- In a symbolic sense, "Aígyptos" could be interpreted as the "land where Ptah resides and protects." This fits well with the ancient Egyptian view of their gods as intimately connected to the land and its people, with Ptah being a central figure in maintaining the well-being and stability of Egypt.

This interpretation emphasizes Ptah's role not just as a creator but also as a protector, reinforcing the idea that Egypt was seen as a sacred space under the care of its gods, especially Ptah in the context of Memphis.

While the linguistic connection between "Aegis" and "Ptah" might not be direct or universally accepted, the symbolic parallel between Ptah’s creative power and protection and the concept of the Aegis is an intriguing example of how ancient cultures interpreted and connected their deities and symbols.

The **Aegis** is a powerful symbol in Greek mythology, traditionally associated with protection, power, and divine authority. It is most commonly depicted as a type of shield or breastplate and is closely linked to the gods Zeus and Athena.

### Key Aspects of the Aegis:

1. **Origin and Description**:

- The Aegis is often described as a protective cloak or shield made from the hide of a goat, specifically the goat Amalthea, which nursed Zeus when he was an infant. In some myths, it is said to be the skin of the Gorgon, with the head of Medusa placed at its center, making it a terrifying weapon that could petrify enemies.

- The Aegis is not just a physical shield but also a symbol of divine protection and power. It is usually depicted as fringed with snakes or adorned with the image of the Gorgon's head, adding to its fearsome nature.

2. **Zeus and the Aegis**:

- Zeus, the king of the gods, is often depicted wielding the Aegis as a symbol of his authority and power. When he shakes the Aegis, it is said to cause storms, thunder, and terror among mortals and gods alike, symbolizing his control over the cosmos and his ability to enforce order.

3. **Athena and the Aegis**:

- Athena, the goddess of wisdom and war, is also closely associated with the Aegis. She often wears it as a breastplate or cloak during battles, making her an invincible warrior. The Aegis represents her divine protection and strategic prowess in warfare.

- In some representations, the Aegis is shown as part of her armor, covering her shoulders or chest, with the Gorgon's head in the center. This reinforces her role as a protector and a fearsome opponent in battle.

4. **Symbolism and Influence**:

- The Aegis symbolizes divine protection, invincibility, and the power of the gods to influence and control the world. Its presence in myth often signifies the involvement of the gods in human affairs, particularly in moments of great danger or battle.

- The concept of the Aegis has transcended Greek mythology, becoming a general symbol of protection and authority in various cultures. The word "aegis" is still used today to denote sponsorship, support, or protection, particularly in a figurative sense.

5. **Mythological Context**:

- The Aegis appears in various myths and epic tales. In **Homer's "Iliad"**, Athena uses the Aegis to rally the Greek forces and strike fear into their enemies. In the **"Odyssey,"** it is mentioned as part of Zeus's divine arsenal, used to impose order or wreak havoc as needed.

- In some myths, Hephaestus, the god of blacksmiths and craftsmen, is said to have forged the Aegis for Zeus or Athena, highlighting its craftsmanship and divine origin.

### Interpretations:

The Aegis is more than just a physical object; it embodies the authority and power of the gods, especially Zeus and Athena. It serves as a reminder of the divine presence in the world and the protection that gods can offer to those under their favor. Whether used to protect or to terrorize, the Aegis is a potent symbol of the gods' might and their ability to shape the fate of mortals and other divine beings alike.

How..

The depiction of the Aegis in Greek mythology as a shield made from goat hide, while often shown as metallic or adorned with metal elements, reflects a blend of symbolic and practical elements in its representation:

### **Symbolic and Practical Aspects of the Aegis:**

1. **Goat Hide as a Symbol**:

- **Mythological Origins**: The Aegis is said to have been originally made from the hide of the goat Amalthea, which nursed Zeus when he was an infant. This association with goat hide is symbolic of the Aegis's divine and protective nature. The hide represents the idea of protection and nurturing.

- **Divine and Protective Qualities**: The transformation of the Aegis into a more formidable, metallic shield symbolizes its enhanced protective and fearsome attributes. The goat hide serves as the foundational material that represents its origins and divine connection.

2. **Metallic Appearance in Depictions**:

- **Evolution of Symbolism**: Over time, artistic depictions of the Aegis evolved to show it with a more metallic appearance, reflecting its role as a powerful and imposing divine artifact. The metallic elements emphasize its strength and the divine authority of the gods who wield it.

- **Combination of Materials**: In artistic representations, the Aegis might be shown with metal embellishments or as a metal shield with elements derived from the goat hide. This combination serves to link the symbolic origins of the Aegis with its practical, protective function.

3. **Artistic Interpretation**:

- **Mythological Art**: Greek art and literature often took creative liberties in depicting divine artifacts. The appearance of the Aegis in myths and art can vary, with the shield sometimes appearing more as a metal breastplate or shield adorned with the Gorgon's head or other symbols.

- **Symbolic Fusion**: The integration of goat hide and metallic features in the Aegis represents a fusion of its mythological origins with its more formidable and practical appearance as a divine weapon.

### **Summary**:

The Aegis's portrayal as both a goat hide shield and a metallic artifact illustrates how symbolic elements are merged with practical representations. While the mythological origin of the Aegis involves goat hide, its depiction as a powerful, metallic shield reflects its role as a divine symbol of protection and authority in Greek mythology. The goat hide serves as a foundational, symbolic element, while the metallic features emphasize its strength and divine power.

Hephaestus, the Greek god of fire, metalworking, and craftsmanship, appears in various animated shows, often depicted in his role as a blacksmith and creator of divine artifacts. Here are a few animated shows where Hephaestus makes an appearance:

### Animated Shows Featuring Hephaestus:

1. **"Hercules: The Animated Series" (1998-1999)**:

- In this Disney TV series, Hephaestus is portrayed as a friendly and somewhat bumbling blacksmith who creates weapons and tools for the gods and heroes. He has a more comedic and light-hearted portrayal compared to traditional mythological depictions.

2. **"Class of the Titans" (2005-2008)**:

- In this Canadian animated series, Hephaestus is depicted as a supporting character who helps the young heroes with his knowledge of technology and craftsmanship. His role is more aligned with the idea of him being a creator and inventor.

3. **"The Twelve Kingdoms" (2002-2003)**:

- Although not directly featuring Hephaestus, this anime series incorporates themes of gods and divine craftsman, resonating with the qualities associated with Hephaestus. The show presents similar concepts of divine intervention and craftsmanship.

### Hephaestus and the Aegis in Myth:

In Greek mythology, Hephaestus is primarily known as the god of fire and metalworking, renowned for his skill in crafting. His connection to the Aegis is as follows:

1. **Creation of the Aegis**:

- Hephaestus is said to have forged the Aegis for Zeus or Athena. According to myth, Hephaestus crafted the Aegis as a divine artifact, giving it its formidable power. This connection emphasizes Hephaestus's role as a master craftsman and his contribution to divine protection and weaponry.

2. **Craftsmanship and Artifacts**:

- Hephaestus's role in creating powerful artifacts extends beyond the Aegis. He is credited with forging many of the gods' weapons and tools, including Zeus's thunderbolts and Athena's armor. His craftsmanship is central to the divine power and protection in Greek mythology.

3. **Symbolism**:

- The Aegis, with its protective and fearsome qualities, represents the pinnacle of Hephaestus's skill in crafting. It underscores his role in creating not just functional items but also objects imbued with significant divine power and symbolism.

In summary, Hephaestus appears in various animated shows as a creator and craftsman, often depicted with a lighter, more humorous tone. In mythology, his connection to the Aegis highlights his role as a master blacksmith who forged divine artifacts for the gods, reinforcing his significance in the pantheon as a skilled and essential craftsman.

Prometheus and Ptah are two distinct deities from different cultural traditions, but they do share some intriguing similarities and connections. Here’s a comparative look at their similarities and differences:

### **Similarities:**

1. **Creation and Craftsmanship**:

- **Prometheus**: In Greek mythology, Prometheus is known for creating humans from clay and giving them fire, symbolizing the gift of knowledge and civilization. His role as a creator and benefactor aligns him with themes of craftsmanship and creation.

- **Ptah**: In Egyptian mythology, Ptah is a creator god associated with crafting and the act of creation through thought and speech. He is often depicted as the divine artisan who brought the world into existence and fashioned the gods and humans.

2. **Association with Knowledge**:

- **Prometheus**: By giving fire to humanity, Prometheus is associated with the enlightenment and knowledge of human beings. His act of defiance against Zeus represents the quest for knowledge and progress.

- **Ptah**: As a creator and craftsman, Ptah embodies the principles of knowledge and creation. His act of creating the world through his mind and speech can be seen as a form of divine enlightenment.

3. **Benefactor Role**:

- **Prometheus**: Often viewed as a benefactor of humanity, Prometheus’s gift of fire and his role in human advancement highlight his positive influence on human progress.

- **Ptah**: Ptah’s role as a creator who brings order and life to the world can be seen as a form of divine benefaction, providing humanity with the essentials of life and civilization.

### **Differences:**

1. **Cultural Context**:

- **Prometheus**: Originates from Greek mythology, where he is one of the Titans. His myth is closely tied to themes of rebellion against divine authority and the consequences of bringing enlightenment to humanity.

- **Ptah**: Is a central deity in Egyptian mythology, particularly associated with the city of Memphis. Ptah’s mythology emphasizes creation through divine thought and craftsmanship, with less focus on rebellion or defiance.

2. **Role in Mythology**:

- **Prometheus**: His primary myth involves his punishment by Zeus for giving fire to humanity, which illustrates his role as a challenger to divine authority and his enduring suffering.

- **Ptah**: Ptah’s mythology centers more on creation and the maintenance of cosmic order. He is revered for his role in the divine craft of shaping the world rather than being involved in rebellious acts or suffering.

3. **Symbolism**:

- **Prometheus**: Symbolizes defiance, the quest for knowledge, and the transformative power of enlightenment. His story often reflects the tension between human aspiration and divine will.

- **Ptah**: Represents craftsmanship, creation, and divine authority. He embodies the concept of creation through intellectual and artistic means, emphasizing stability and order.

In summary, while Prometheus and Ptah share similarities in their roles as creators and their associations with knowledge and craftsmanship, their cultural contexts, mythological roles, and symbolic meanings differ significantly. Prometheus is more associated with the theme of rebellion and the gift of enlightenment, while Ptah represents divine creation and the maintenance of cosmic order.

[parkerbombshell]

Rules Free Radio July 9

Tuesdays 2pm - 5pm  EST Rules Free Radio With Steve  Caplan bombshellradio.com On the next Rules Free Radio with Steve Caplan, we’ll hear new music by Rob Moss and Skin Tight Skin, Redd Kross, Boston’s Mutual Admiration Society, Burr Island, The Armoires, Stephen Pastel, Local Natives, The Felice Brothers, Loma, Dirty Three, Homeshake, and Marina Allen. We’ll sample a few tracks from a new tribute to Tom Petty as done by Country artists. We’ll revisit a couple from the newly released 50th-anniversary deluxe edition of The Grateful Dead’s Mars Hotel album. In the third hour, we’ll check out some recent Jazz releases and new singer-songwriter offerings. Along the way, we’ll hear Squeeze, Gin Blossoms, Permanent Green Light, The Jam, Secret Affair, The Stones, Son Volt, The Band, The Lovin’ Spoonful, The Small Faces, The Youngbloods, Crosby Stills & Nash, Willie Nile, and a bunch more. Redd Kross - Too Good To Be True Squeeze - Another Nail In My Heart Permanent Green Light - (You and I Are the) Summertime Gin Blossoms - Follow You Down The Greenberry Woods - Nervous Tom Petty & The Heartbreakers - I Need To Know Steve Earle - Yer So Bad Luke Combs - Runnin' Down A Dream Tom Petty - You Wreck Me Jamey Johnson - I Forgive It All The Young Fresh Fellows - Rock 'n' Roll Pest Control Rob Moss and Skin-Tight Skin - The Next Time (I See You) Mutual Admiration Society - Heavy Music The Jam - Beat Surrender Secret Affair - Going To A Go-Go The Rolling Stones - All Down The Line The Airport 77s - Too Tight Son Volt - It's Gonna Be Easy The Band - Time To Kill The Grateful Dead - Wave That Flag (Demo) The Grateful Dead - Scarlet Begonias Bright Eyes - Bells and Whistles The Small Faces - Lazy Sunday Sopwith Camel - Hello Hello The Youngbloods - Rain Song (Don't Let The Rain Bring You Down) The Lovin Spoonful - Lovin' You Henry Thomas - Bull-Doze Blues (Going Up The Country) Crosby, Stills, Nash - Helplessly Hoping Burr Island - Mother The Armoires - Here Comes The Song Stephen Pastel - The Most Beautiful House in Airdrie Fred Neil - December's Dream Local Natives - As Soon As You Arrive Dirty Three - Love Changes Everything II Loma - Affinity Homeshake - Empty Lot Dana Gavanski - Jano Mome The Felice Brothers - Let Me Ride Away With The Horsemen Willie Nile - Across The River Marina Allen - Deep Fake U.S.E. Trio - Clstrfck SML - Rubber Tree Dance William Parker, Cooper-Moore, Hamid Drake - Five Angels By The Stream Shabaka - Kiss Me Before I Forget Read the full article

[didanawisgi]

Image:  Thoth & Horus Purifying, Kom Ombo Temple

“There came into being as the heart (Heru), and there came into being as the tongue (Tehuti), the form of Atum (perfected man). The heart thinks... and the tongue delivers...” - Shabaka Stele

“The egyptian model of mysticism stresses that purity can only be achieved through purifying the heart and practicing the pure intent in the ordinary daily life.” - Moustafa Gadalla

[90smovies]

Destiny Turns on the Radio

[thethief1996]

Updates on Palestine: June 27th 2021

On the 15th, Israel returned to bombing Gaza during the ceasefire. Two days after, they bombed Gaza again, leaving more than 100.000 people without homes.

Israel has been blackmailing Hamas and other Palestinian leaderships in Gaza, saying they will only let Palestine resume fishing, reopen its borders and let Qatar financially aid them in exchange for political prisoners.

Israel has imposed stricter import restrictions on Palestine, including the import of raw materials, what's directly affecting Palestine's industry and leaving hundreds on job insecurity. Note that Gaza's borders are all tightly controlled by either Israel or Egypt in a blockade (hence why it's called an open air prison)

Because of the 14 year old blockade, Israel doesn't let construction goods in Gaza under the guise it can be used for military purposes. Over 100.000 displaced Palestinians have no material to reconstruct their homes and have to repurpose debris, while some of them are uncertain to rebuild at all under the political climate

A timeline of Nizar Banat's murder and protests

June 24th: Nizar Banat, an outspoken critic of the Palestinian Authority, had his home raided by PA security forces at 3:30 AM, was taken to an unknown location and killed. The body was hidden from the family. Preliminary autopsies say the cause of death was unnatural and he took blows to the head

Still about Banat's murder, his home is in an part of the West Bank occupied by Israel, meaning that the PA couldn't coordinate the attack without help of the Israeli government

To understand better who Banat was and the relationship of Palestinians with the PA, here's an article

Palestinians came together to protest and were met with heavy backlash, being teargassed, beaten with sticks and brutalized by plainclothes officers

Trigger warning for police brutality: here's two videos showing the protestors being repressed by the police

June 25th: Dozens of Palestinians turn up to Banat's funeral to protest and are heavily repressed.

The PA brings an unconscious Palestinian to the ER of the Palestinian Medical Complex and closes off the building for other injured

Three lawyers were arrested by the PA

June 26th: Hundreds of protesters gathered in Ramallah demanding that the PA's president resign. Once again they were heavily repressed

Seven Palestinian journalists were brutally beaten by PA officers in plainclothes and uniform alike. Their names are: Shatha Hammad, Saja Al-Alami, Mohammed Ghafri, Najlaa Zeitoon, Fayhaa Khanfar

Here's a graphic video of a PA officer in plainclothes brutalizing Najlaa Zeitoon

Here's a graphic video of the PA dragging an injured protestor down a street

June 27th: PA cuts off internet access in Ramallah.

PA police attacked a group of twenty women trying to keep each other safe. Right now, Palestinian youth are protesting, without knowing if a plainclothes officer or Fatah loyalist will brutalize them with no way of communicating

About Beita

Israel is building a new settlement in Beita, on the West Bank (I want it to be very clear it's not Israeli land either by 1948 or 1967 accords, it's an invasion even to the most liberal person)

Beita has been raided by settlers for weeks now, with deaths, including children, and injured. IOF has been shooting and stopping ambulances coming to aid.

Beita heavily depends on its olive groves, and over 100 olive saplings were burned and older trees chopped down

Residents have come together in something they call night confusion units, where they honk horns, burn tyres and use laser lights to bother settlers. This is what's being compared to the Charlottesville nazis by zionists.

About Sheikh Jarrah

Sheikh Jarrah residents are still being beaten and brutalized for months now. Settlers have thrown stones at palestinians and pepper sprayed four children, leaving 20 hurt, all with cover of the IOF.

Israelis have started fires in Sheikh Jarrah

Here's a graphic video of the IOF choking a resident and beating another (26/06)

The IOF has been abducting people in Sheikh Jarrah by the dozens. Today, they arrested two members of the Abdulatif family, including a 16 year old and two women of the El Qasem family, after making sexual comments to humiliate them

They've also detained Bashar Yaish, a resident from Sheikh Jarrah, for no reason, being released hours later. It can't be more clear theyre doing this to break palestinians' spirits.

Mohammed El Kurd was almost arrested again, while other residents have been arrested for recording the streets of Sheikh Jarrah, under charges of "Tiktok"

About Silwan

Today's the last day before the demolition of Silwan. Over 1500 palestinians have been threatened by the Israeli government to either destroy their own homes or pay the government to destroy it for them

The Bustan neighborhood will be demolished to make space for a biblical park. This thread by Mohammed El Kurd of how this is a systemic excuse to displace palestinians

They've renamed Silwan with a hebrew name in anticipation, attempting to erase them

Not only are the people of Beita, Silwan, Sheikh Jarrah, Gaza and so on being made homeless, they're made homeless in a place where they can't build homes elsewhere and are being systemically repressed, starved and driven out. Be angry and amplify Palestinian voices. Follow Palestinians like Mohammed El Kurd, Linah Al Saafin, Mariam Barghouti and Al Shabaka and share their voices. To quote @/princessmlokhia on twitter, they will demolish these homes if they believe they can do so quietly.

Also found this petition to support Huda, a pakistani student who was harrassed for calling students to learn about Palestine. Feel free to add more

[aboutanancientenquiry]

The three most important ancient Egyptian theogonies and cosmogonies (a text of Egyptologist Salima Ikram)

" Creation Myths

The ancient Egyptians had several myths dealing with the creation of the cosmos and all that it contained. Probably, many of these myths had local origins, but with the unification of the country, they were gathered together and regarded as equally believable, or, depending on a particular situation, one may have been favoured above the others for some time. From the evidence that remains, it does not seem that the Egyptians had difficulty holding onto fairly contradictory concurrent beliefs.

The Heliopolitan Cosmogony is one of the earliest creation myths and originated at the site of Iwnw (Heliopolis in Greek; biblical On), a major solar centre. In this myth, a group of nine gods (the Ennead) created the world. First, the god Atum ("the complete one", "the all") masturbated (in some stories, he spat) and from his ejaculation created a pair of gods, the male Shu ("air") and his female counterpart Tefnut ("moisture"). They gave birth to Geb ("earth") and Nut ("sky"). (The Egyptians are almost unique in having a male earth god and a female sky divinity.) In turn, Geb and Nut produced two sons, Osiris and Seth, and two daughters, Isis and Nephthys, who were also their brothers' consorts. Clearly, incest was not taboo for gods in Egyptian religion; it was also acceptable for kings, who were regarded as gods. Incest was a taboo for anyone else, however. The tale of Osiris, Isis, Seth, and Nephthys leads into the Osiris myth cycle. (Fig. 64.)

An equally important myth, the Hermopolitan Cosmogony, originated in the Middle Egyptian city of Khemnw (the Greek Hermopolis), which was sacred to the god Thoth. In this tale, a group of eight gods, an Ogdoad, consisting of four couples of male and female divinities, personified the elements of chaos, or pre-creation. These were "hiddeness" or "hidden potential", personified by Amun and Amunet; 'formlessness", personified by Huh and Hauhet; "darkness", embodied by Kuk and Kauket; and the primeval waters, incarnated in Nun and Naunet. These deities created an egg that contained the gods responsible for creating the other gods, the land, animals, plants, and humans. Thoth was probably this god originally, which was particularly appropriate since an ibis is hatched from an egg. However, Atum was inserted in this role in some versions of the myth.

The Memphite Theology is another significant creation myth. This was probably an old tale, but the most complete version known to us was recorded on the Shabaka Stone (ca 710 BC, Dynasty 25), named after the king who had the myth inscribed on this piece of basalt; another version, the Bremner-Rhind Papyrus (4th century BC), was written on papyrus. In this myth, Ptah created the world by conceiving it in his heart (equivalent to our mind) and then giving it life by articulating or naming each element of the world and its denizens. The idea of thinking of something (Hu) and then causing it to exist through the act of speech (Sia) is close to the later biblical story of God's creating the world through speaking it; this story has also parallels in Australian aboriginal myths and in other concepts of speaking or singing the world into being. In the Memphite theology, Ptah created Atum and the Ennead, and, through them, the rest of the world.

Minor variations exist for all these myths, and sometimes, in the Memphite theology, other gods, such Amun-Re, supplanted Ptah as supreme creator, although Ptah remained an important character in the myth. Alternate accounts also exist; for example, in "The Destruction of Mankind", Re was cast as the supreme being and self-creator, with other gods, such as Nefertum, also playing generative roles."

Salima Ikram Ancient Egypt. An Introduction, Cambridge University Press, 2009, pp 128-129

Nut, Shu, and Geb in the Greenfield Papyrus (10th century BCE). Source: https://www.britannica.com/topic/Shu-Egyptian-god

[burlveneer-music]

My WVUD playlist and stream, 6/11/2022

Shabaka - Ital is vital Kiyoshi Yamaya, Toshiko Yonekawa & Kifu Mitsuhashi - Nanbu Ushioi-Uta Amanda Whiting - Suspended Bakithi Kumalo - Electric Flow (feat. Maxfield Gast & Dacia Gypsy) Chip Wickham - Astral Traveling Mark de Clive-Lowe - Thembi Nat Birchall - Trane's Garden Eric Hilton - Earth Ship Lex - The Jamail Pass E. Live - Traffic Jam Lisa LeBlanc - Veux-tu rentrer dans ma bubble? The IgG Band - Funky Music Hearts of Stone - Thank You (Fallettinme Be Mice Elf Again) A Certain Ratio - Down & Dirty (Mr Dan Remix) Defunkt - Ooh Baby Daniel Herskedal - Tundra Envy Of None - Kabul Blues 40 Thieves - Rushing Thunder (feat. The Resolvers) Lil Obeah - Copii Lorenzo Morresi - Send Your Name To Mars Ralph Heidel - Radical Matter Panam Panic - Love of Humanity

(listen on Mixcloud)

[egyptologylessons]

The Infamous Shabaka Stone This unimpressive looking artifact is very unique. It is the only hieroglyphic 𓌃𓂧𓅱𓀁𓊹 “mdw-nṯr” (divine writing) record of the creation myth of Ptah 𓊪𓏏𓎛𓀭 “ptḥ” as the supreme creator. It is also harks to the Christian philosophical idea of ‘Logos’, “with a spoken word, life is created”. The Shabaka Stone (British Museum 498) is a heavy, nearly black 𓆎𓅓𓏜 “km” slab of "Green breccia" from Wadi Hammamat 𓂋𓏤𓉔𓏌𓈉 “rˁ-hnw” of 137 wide. The left side is ca. 91 cm, the right side ca. 95 cm high. With a density of 2.7g/cm³, its weight is about 430 kg. It is named after the "black" Pharaoh Shabaka 𓆷𓃝𓂓 “š3-b3-k3” (ca.712- 698 BCE), who ruled in the XXVth Dynasty. Retrograde Inscription: “This writing was copied out anew by his majesty in the House of his father Ptah-South-of-his-Wall, for his majesty found it to be a work of the ancestors which was worm-eaten, so that it could not be understood from the beginning to the end. His majesty copied it anew so that it became better than it had been before, in order that his name might endure and his monument last in the House of his father Ptah-South-of-his-Wall throughout eternity, as a work done by the son of Re [Shabaka] for his father Ptah-Tenen, so that he might live forever." Source: http://www.sofiatopia.org/maat/shabaka.htm 𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬𓋹𓎬 Follow: @egyptologylessons 𓋹𓊽𓋴𓆖𓎛𓇳𓎛 𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁𓊁 #Ancienthistory #historyfacts #historylovers #ancientegypt #hieroglyphics #ägypten #egyptologist #egyptianhistory #egyptology #hieroglyphs #egypte #egyptians #egitto #埃及 #مصر #egipto #이집트 #art #culture #history #ptah #shabaka #shabakastone #mythology #memphis https://www.instagram.com/p/CSzsSz6Ln5B/?utm_medium=tumblr

[daloy-politsey]

Palestine was more prepared for the first coronavirus wave than many other governments because the PA’s security forces successfully lobbied the international community to provide them with a public health emergency simulation the previous year. “International donors gave them a workshop, and they modeled it on the basis of a potential MERS [Middle East respiratory syndrome] outbreak,” said Tahani Mustafa, a Jordanian-based research fellow at the London School of Economics.

The exercise proved beneficial, since the PA already suffered from limited logistical options and an obstructed health sector as a result of the Israeli military occupation, which has prevented the acquisition of supplies and equipment and greatly constrained the travel necessary to keep up-to-date with medical training and development, according to a report by al-Shabaka, an independent global Palestinian think tank.

Mustafa explained that the simulation was meant to include a workshop for representatives of the various branches of the security sector first, followed by a workshop for relevant political actors, such as representatives of the Health Ministry. The first workshop in 2019 addressed potential solutions to anticipated problems—which included a novel respiratory coronavirus.

Before the second workshop could take place, Covid-19 hit. With the first simulation fresh in memory, the PA moved fast, setting up a joint operations center where the Health Ministry, the prime minister’s office, and the security branches came up with procedures and rules and then delegated them to each governorate in the West Bank.

“With the first wave, what you had was an instantaneous response as soon as there was an outbreak in Bethlehem,” Mustafa said. “They basically shut down the area, and then a week or two later you ended up having the entire West Bank go into this severe lockdown. They did an OK job in the first couple of months. From what I was told, there was a lot of public consistency, where people were complying with the rules.” But unlike the simulation, the pandemic didn’t end.

Ten months have passed since those early days of relative success, and a different reality has emerged in the occupied territories. Makeshift checkpoints of dirt and stone now divide the towns. Travel and trade with Israel have been restricted even more than usual. And testing kits and supplies have run critically low. All 350 artificial respirators available in the territories had been put to use by July, according to the Health Ministry. At the same time, Israeli Prime Minister Benjamin Netanyahu was pushing for annexation, a threat that preoccupied the Palestinian leadership. With the government overwhelmed, the PA saw no choice other than to look abroad for financial support. But it ran into a roadblock.

In the past, Palestinians relied heavily on US support, which amounted to around $400 million a year, according to a 2018 congressional report. But the bipartisan Anti-Terrorism Clarification Act, which was signed into law by President Trump in 2018, slashed that funding to virtually nothing. According to that law, any foreign entity receiving US aid must consent to the jurisdiction of US courts regarding anti-terrorism claims, meaning the PA would be subject to terrorism-related lawsuits based on American law. Considering that it pays a stipend to the families of Palestinian citizens who are imprisoned in Israel, some of whom are being held on terrorism charges, the PA opted against accepting any US money. When the Palestinian economy shuttered after the first wave of the coronavirus, Washington pledged $5 million in aid—a paltry sum, roughly 1 percent of what had been the annual US aid budget to the PA.

According to data from the Palestinian Finance Ministry Service and an analysis by the London-based Al-Araby Al-Jadeed, since March, the PA has received no aid from Arab countries, some of which signed US-backed normalization agreements with Israel during that period. These cuts arrived on top of a 50 percent decrease in foreign aid from outside the region, with total funding dropping from $500 million in 2019 to $255 million in 2020.

“When we ask how Palestinians are able to live under these conditions, we have to understand that it’s never been much better,” said Yara Asi, a postdoctoral scholar at the University of Central Florida who is researching health and development in fragile and conflict-ravaged populations. “For Palestinians who can afford it, they will continue to access higher-quality private facilities or, travel conditions permitting, travel to Jordan, Egypt, or other states for advanced [health] care they are unable to get in the territories,” she said. “Low-income Palestinians will continue to rely on the public health sector, buoyed by inconsistent aid to the Palestinian Authority, as US funding has essentially ended.”

While donors in other parts of the world have filled some of the funding shortfalls, Asi added, many Palestinians will now be unable to access health care altogether while resources run dry and medical facilities and providers remain overworked and understaffed. For example, “thousands of Palestinians are missing needed vision care, as they have not been able to access ophthalmologists for months,” she said. “One report estimated that 1,200 surgical procedures to help restore vision have been canceled since April.”

[noloveforned]

i'm (hopefully) at home recovering from a minor heart procedure earlier this week but there's a new show set to air on wlur at 8pm tonight with two hours of (mostly broken) heart related songs. last week's show is also streaming on mixcloud and will air at 10pm tonight after the new show.

we also wrapped up our 'song quotes' theme last week. all semester long we've been starting shows off with a song that quotes lyrically from another song. we heard from: built to spill allo darlin, spiritualized, jeanines, okkervil river, hootie and the blowfish, car seat headrest, tori amos, uncle tupelo, vampire weekend, martha, the spinanes, destroyer, and u2.

no love for ned on wlur – april 12th, 2024 from 8-10pm

artist // track // album // label u2 // god, part ii // rattle and hum // island bodega // dedicated to the dedicated // our brand could be yr life // chrysalis armin // academic genius // armin cassette // lost sound tapes the real losers // beat your heart out // good clean fun // total punk macho boys // dinosaur // macho boys // dirt cult cowtown // tweak // paranormal romance // happy happy birthday to me hound // holding out // some days were good cassette // gold mold s:bahn // you could be mine // love songs // noiseland lung leg // krayola // maid to minx // last night from glasgow majesty crush // seles // love 15 // numero group drop nineteens // white dress // white dress ep // wharf cat nervous twitch // this song about ya // odd socks // (self-released) guided by voices // jabberstroker // sunfish holy breakfast ep // matador still house plants // sticky // if i don't make it, i love u // bison tam lin // snooping animals // tam lin cassette // discontinuous innovations titanic // circulo perfecto // vidrio // unheard of hope patrick shiroishi // the light is not afraid // a sparrow in a swallow's nest 7" // sub pop caroline davis and wendy eisenberg featuring greg saunier // concrete // accept when // astral spirits shabaka hutchings featuring saul williams // managing my breath, what fear had become // perceive its beauty, acknowledge its grace // impulse! tyshawn sorey, aaron diehl and matt brewer // reincarnation blues // continuing // pi harold land // one second, please // the fox (remastered) // contemporary akai solo // demonslayer // spirit roaming // backwoodz studioz serengeti // lou canela // kenny dennis iv // othar tha god fahim and oh no featuring your old droog // cobbler // berserko // nature sounds estee nack and futurewave // oscar de la renta // stone temple pyrex // wav god music valee and harry fraud featuring saba and mavi // watermelon automobile // virtuoso // fake shore drive beyoncé featuring linda martell and shaboozey // spaghettii // cowboy carter // parkwood entertainment the hit parade // apple tree // under the bridge, volume two compilation // skep wax haha same // calling it a night // guess what to do 7" // sub pop the ladybug transistor // always on the saxophone // can't wait another day // merge the flaming stars // ten feet tall // john peel session on october 17th, 1996 ep // precious club 8 // sunny // sunny digital single // golden islands the reds, pinks and purples // learning to love a band // unwishing well // slumberland