Egyptian Queen Nefertiti buried in Pharaoh Tutankhamun’s tomb?

This video says about itself:

25 March 2014

Queen Nefertiti – Greatest Mystery of Ancient Egypt (History Documentary)

LOVED BY A KING. HATED BY AN EMPIRE. ERASED FROM HISTORY. SHE COULD BE THE BIGGEST FIND SINCE KING TUT. Has the famed Egyptian beauty, Queen Nefertiti, been found in a secret chamber deep in the Valley of the Kings? A Discovery Channel Quest expedition, led by Dr. Joann Fletcher and a team of internationally renown scientists from the University of York Mummy research Team, hopes to find out.

If they’re right, the finding will be one of the greatest archaeological discoveries since Nefertiti’s stepson – King Tutankhamen – was discovered in 1922. “Great Royal Wife” of the “renegade” pharaoh Akhenaten, Nefertiti was a mother of six who helped lead a religious revolution that changed Egypt and the world forever. Yet after her death, her enemies destroyed all evidence of Nefertiti’s life.

Now, drawing on 13 years of research, Fletcher and her team bring Nefertiti’s turbulent reign to life as never before using cutting-edge computer animations to recreate ancient Egypt’s great temples; x-rays to reveal the telltale signs of foul play on her mummy; and forensic graphics to recreate the mummy’s face. Have they found the ancient world’s greatest beauty?

From the Egyptian Streets site:

’90 Percent Chance’ King Tutankhamun’s Tomb Holds a Hidden Chamber: Egypt’s Antiquities Minister

November 28, 2015

There is a 90 percent chance a hidden chamber lies behind King Tutankhamun’s tomb in the Valley of the Kings, Egypt’s Minister of Antiquities Mamdouh Damaty announced at a Saturday press conference in Luxor.

According to Damaty, the scans, conducted by Japanese radar specialist Hirokatsu Watanabu, covered the southern, western and northern sides of the pharaoh’s burial chamber.

“The primary results of the scan gave us very positive results, very good results,” Damaty said. “We have here something behind the west and the north walls…We believe that there could be another chamber.”

The findings, which lend credence to British archaeologist Nicholas Reeves’ theory that Queen Nefertiti’s tomb is hidden behind that of King Tutankhamun, may lead to “one of the most important finds of the century,” Damaty said.

However, these findings are only preliminary and need more work to yield accurate results, the minister stressed. Damaty said the scans will be sent to Japan for further analysis, which will take around one month to complete.

Reeves had publicized his hypothesis in July, after which the Egyptian Ministry of Antiquities invited him to Egypt to present his theory to antiquities officials.

In October, the panel of experts approved using radars to search inside King Tutankhamun’s tomb for a hidden chamber.

Based on the detailed scans and photographs of Tut’s tomb in the Valley of the Kings in Luxor which were published last year by Factum Arte, a Spanish specialist in art and replication, Reeves noted that beneath the layers of paint, the texture of walls revealed cracks which may suggest the presence of two doors leading to passageways.

While the first door likely leads to a storage room which has already been discovered, the other passageway situated at the north wall of the burial chamber is speculated to lead to a bigger room which may be Nefertiti’s tomb.

The archaeologist also believes Tutankhamun’s tomb and death mask were originally made for Nefertiti, who is strongly believed to be his stepmother. According to Reeves, Tutankhamun’s sudden death likely resulted in his “hurried” burial in a mausoleum that had not been intended for him.

Not only was Nefertiti famous for her beauty, which remains evident through her world-renowned 3,300-year-old painted limestone bust housed at the Egyptian Museum in Berlin, but she was also the Great Royal Wife of the Pharaoh Akhenaten and his chief consort.

Nefertiti’s burial site has long been a mystery as archaeologists have so far failed to find the queen’s tomb.

King Tutankhamun’s tomb was found in 1922 under the supervision of another British archaeologist and Egyptologist, Howard Carter.

Shelley’s newly discovered pro-peace poem

This video from England says about itself:

Poetical Essay: Shelley back from the dead

10 November 2015

In November 2015 the Bodleian Libraries acquired its 12 millionth printed book: a unique copy of a pamphlet entitled Poetical Essay on the Existing State of Things, written by ‘a Gentleman of the University of Oxford’ and printed in 1811. The pamphlet was the work of Percy Bysshe Shelley (1792–1822), then a student at Oxford University, and now recognised as one of the great English poets of the 19th century. The acquisition is a momentous event for the public, for scholars, the University and the Bodleian Libraries. Known to have been published by Shelley in 1811 but lost until recently, Shelley’s Poetical Essay is, thanks to the generosity of a benefactor, now freely available to all in digitized form at

From daily The Morning Star in Britain:

Poetical Essay on the Existing State of Things

Thursday 26th November 2015

This rediscovered poem by PERCY BYSSHE SHELLEY (1792-1822), now on view at the Bodleian Library in Oxford, is an acute commentary on war and colonial oppression which demonstrates his significance for Karl Marx and the Chartist movement and why he is an inspiration for a new generation of poets today

DESTRUCTION marks thee! o’er the blood-stain’d heath
Is faintly borne the stifled wail of death;
Millions to fight compell’d, to fight or die
In mangled heaps on War’s red altar lie.
The sternly wise, the mildly good, have sped
To the unfruitful mansions of the dead
Whilst fell Ambition o’er the wasted plain
Triumphant guides his car—the ensanguin’d rein
Glory directs; fierce brooding o’er the scene,
With hatred glance, with dire unbending mien,
Fell Despotism sits by the red glare
Of Discord’s torch, kindling the flames of war.
For thee then does the Muse her sweetest lay
Pour ’mid the shrieks of war, ’mid dire dismay;
For thee does Fame’s obstrep’rous clarion rise,
Does Praise’s voice raise meanness to the skies.
Are we then sunk so deep in darkest gloom,
That selfish pride can virtue’s garb assume?
Does real greatness in false splendour live?
When narrow views the futile mind deceive,
When thirst of wealth, or frantic rage for fame,
Lights for awhile self-interest’s little flame,
When legal murders swell the lists of pride;
When glory’s views the titled idiot guide,
Then will oppression’s iron influence show
The great man’s comfort as the poor man’s woe.
Is’t not enough that splendour’s useless glare,
Real grandeur’s bane, must mock the poor man’s stare;
Is’t not enough that luxury’s varied power
Must cheat the rich parader’s irksome hour,
While what they want not, what they yet retain,
Adds tenfold grief, more anguished throbs of pain
To each unnumbered, unrecorded woe,
Which bids the bitterest tear of want to flow;
But that the comfort, which despotic sway
Has yet allowed, stern War must tear away.

Ye cold advisers of yet colder kings,
To whose fell breast no passion virtue brings,
Who scheme, regardless of the poor man’s pang,
Who coolly sharpen misery’s sharpest fang,
Yourselves secure. Yours is the power to breathe
O’er all the world the infectious blast of death,
To snatch at fame, to reap red murder’s spoil,
Receive the injured with a courtier’s smile,
Make a tired nation bless the oppressor’s name,
And for injustice snatch the meed of fame.
Were fetters made for anguish, for despair?
Must starving wretches torment, misery bear?
Who, mad with grief, have snatched from grandeur’s store,
What grandeur’s hand had snatched from them before.
Yet shall the vices of the great pass on,
Vices as glaring as the noon-day sun,
Shall rank corruption pass unheeded by,
Shall flattery’s voice ascend the wearied sky;
And shall no patriot tear the veil away
Which hides these vices from the face of day?
Is public virtue dead?—is courage gone?
Bows its fair form at fell oppression’s throne?
Yes! it’s torn away—the crimes appear,
Expiring Freedom asks a parting tear,
A powerful hand unrolls the guilt-stain’d veil,
A powerful voice floats on the tainted gale,
Rising corruption’s error from beneath,
A shape of glory checks the course of death;
It spreads its shield o’er freedom’s prostrate form,
Its glance disperses envy’s gathering storm;
No trophied bust need tell thy sainted name,
No herald blazon to the world thy fame,
Nor scrolls essay an endless meed to give;
In grateful memory still thy deeds must live.
No sculptured marble shall be raised to thee,
The hearts of England will thy memoirs be.
To thee the Muse attunes no venal lyre,
No thirsts of gold the vocal lays inspire;
No interests plead, no fiery passions swell;
Whilst to thy praise she wakes her feeble shell,
She need not speak it, for the pen of fame
On every heart has written BURDETT’S name;
For thou art he, who dared in tumult’s hour,
Dauntless thy tide of eloquence to pour;
Who, fearless, stemmed stern Despotism’s source,
Who traced Oppression to its foulest course;
Who bade Ambition tremble on its throne—
How could I virtue name, how yet pass on
Thy name!—though fruitless thy divine essay,
Though vain thy war against fell power’s array,
Thou taintless emanation from the sky!
Thou purest spark of fires which never die!

Yet let me pause, yet turn aside to weep
Where virtue, genius, wit, with Franklin sleep;
To bend in mute affliction o’er the grave
Where lies the great, the virtuous, and the brave;
Still let us hope in Heaven (for Heaven there is)
That sainted spirit tastes ethereal bliss,
That sainted spirit the reward receives,
Which endless goodness to its votary gives.
Thine be the meed to purest virtue due—
Alas! the prospect closes to the view.
Visions of horror croud upon my sight,
They shed around their forms substantial night.
Oppressors’ venal minions! hence, avaunt!
Think not the soul of Patriotism to daunt;
Though hot with gore from India’s wasted plains,
Some Chief, in triumph, guides the tightened reins;
Though disembodied from this mortal coil,
Pitt lends to each smooth rogue a courtier’s smile;
Yet does not that severer frown withhold,
Which, though impervious to the power of gold,
Could daunt the injured wretch, could turn the poor
Unheard, unnoticed, from the statesman’s door
This is the spirit which can reckless tell
The fatal trump of useless war to swell;
Can bid Fame’s loudest voice awake his praise,
Can boldly snatch the honorary bays.
Gifts to reward a ruthless, murderous deed,
A crime for which some poorer rogue must bleed.
Is this then justice?—stretch thy powerful arm,
Patriot, dissolve the frigorific charm,
Awake thy loudest thunder, dash the brand
Of stern Oppression from the Tyrant’s hand;
Let reason mount the Despot’s mouldering throne,
And bid an injured nation cease to moan.
Why then, since justice petty crimes can thrall,
Should not its power extend to each, to all?
If he who murders one to death is due,
Should not the great destroyer perish too?
The wretch beneath whose influence millions bleed?
And yet encomium is the villain’s meed.
His crime the smooth-tongued flatterers conquest name,
Loud in his praises swell the notes of Fame.
Oblivion marks the murdering poor man’s tomb,
Brood o’er his memory contempt and gloom;
His crimes are blazoned in deformed array,
His virtues sink, they fade for aye away.
Snatch then the sword from nerveless virtue’s hand,
Boldly grasp native jurisdiction’s brand;
For justice, poisoned at its source, must yield
The power to each its shivered sword to wield,
To dash oppression from the throne of vice,
To nip the buds of slavery as they rise.
Does jurisprudence slighter crimes restrain,
And seek their vices to controul in vain?
Kings are but men, if thirst of meanest sway
Has not that title even snatched away.—
The fainting Indian, on his native plains,
Writhes to superior power’s unnumbered pains;
The Asian, in the blushing face of day,
His wife, his child, sees sternly torn away;
Yet dares not to revenge, while war’s dread roar
Floats, in long echoing, on the blood-stain’d shore.
In Europe too wild ruin rushes fast:
See! like a meteor on the midnight blast,
Or evil spirit brooding over gore,
Napoleon calm can war, can misery pour.
May curses blast thee; and in thee the breed
Which forces, which compels, a world to bleed;
May that destruction, which ’tis thine to spread,
Descend with ten-fold fury on thy head.
Oh! may the death, which marks thy fell career,
In thine own heart’s blood bathe the empoisoned spear;
May long remorse protract thy latest groan,
Then shall Oppression tremble on its throne.
Yet this alone were vain; Freedom requires
A torch more bright to light its fading fires;
Man must assert his native rights, must say
We take from Monarchs’ hand the granted sway;
Oppressive law no more shall power retain,
Peace, love, and concord, once shall rule again,
And heal the anguish of a suffering world;
Then, then shall things, which now confusedly hurled,
Seem Chaos, be resolved to order’s sway,
And errors night be turned to virtue’s day.

See also here.

Bridge for bats in the Netherlands

The new bat bridge, photo by Raymond Rutting

Translated from the Dutch Mammal Society:

Architecture award for Westland bat bridge

Nov 26, 2015 – In October 2015 in the municipality Westland a “bat bridge” was opened. The bridge across the Vlotwatering is part of the landscape redevelopment of the Poelzone, an elongated area located in Westland, between the towns of ‘s-Gravenzande, Naaldwijk and Monster.

LOLA Landscape made for this area a design aiming at strengthening the existing green and ecological connectivity, where natural and recreation values complement each other. This green leisure link contains many ecological aspects: a cycle route along the Vlotwatering and the Monster canal and a bridge as well. This bridge you make then of course an ‘ecological’ bridge. A good initiative by Westland and Lola Landscape! And if you’re at it, then why not a “bat bridge”, so thought NEXT Architects. The courage to do that has won NEXT Architects a nice price.

This bridge was built especially so that various local bat species could stay there, both in summer and in winter. Local bat species are common pipistrelle and Nathusius’ pipistrelle, Daubenton’s bat and pond bat, serotine and noctule bat.

Duke Ellington’s jazz and classical music in Amsterdam church

This video from the Netherlands says about itself:

When Amsterdam expanded in western direction in the beginning of the 17th century, new churches were needed. One of these new churches was the Westerkerk (The Western church), built between 1620-1638. The initial designer of the Westerkerk was Hendrick de Keyser, whose son Pieter took over after his father died in 1621.

On 15 November 2015, there was a concert in the Westerkerk in Amsterdam. This church is not far from the Anne Frank House. Anne Frank could see the church’s tower from her window in the secret annexe during World War II.

The big church was full of people for the concert. There ware many people on stage as well. The Nationaal Symfonisch Kamerorkest this time, besides their usual classical music instruments, had jazz instruments like drums and saxophones as well.

There was also a big choir. Really, a merger for this concert of two Amsterdam choirs: GrootNoord, from the north of the city. And Singi Nanga Firi, a Surinamese name for a multicultural Christian choir.

Westerkerk concert flyer

The music was by Michael Tippett, a British classical composer, inspired by African American music in the ‘Five Negro Spirituals’ in his work A Child Of Our Time. After Tippett came the Sacred Concert, by famous United States jazz musician Duke Ellington, with classical music influences as well. This was the first time ever for Ellington’s Sacred Concert in the Netherlands, as one needs many people to perform it. Tippett’s Spirituals had been performed only rarely in the Netherlands.

This music video, recorded in Hong Kong in 2007, is called Michael Tippett: Go Down, Moses.

The five spirituals, performed in Amsterdam, were: Steal away to Jesus; Nobody knows the trouble; Go down, Moses; By and by; and Deep river.

While they are Christian religious songs, based on the Bible, there is an undertone of the struggle for freedom in African American history, against slavery and discrimination. Eg, in parallels with the Bible story of ancient Israelites escaping from slavery in Egypt, led by Moses.

This undertone of secular opposition to oppression within religious music is also present in Duke Ellington’s Sacred Concerts. They frequently have the word ‘freedom’, sometimes in many languages. The Christian right in the USA did not like that, claiming that Ellington had ‘polluted’ religion with jazz.

This music video, recorded on 17 March 2013 in San Marino, is called Duke Ellington’s Sacred Concerts (Full Concert).

Duke Ellington wrote three Sacred Concerts. In 1993, a compilation of these three was arranged by John Hoybye and Peder Pedersen. The Amsterdam performance was based on that compilation.

There was much applause after the music stopped.