Podcasts about spinx

We received word about 2026 being a major activation point for the Giza pyramid complex having to do with the Spinx and the star regulus

dupreeh joins to talk about what went wrong in Falcons, what he is up to, EPL takeaways, the state of G2, Falcons, Vitality, and NAVI, including Aleksib's outburst on iM, as well as helping us make a prediction for playoffs.➡️ Follow us for updates:   / hltvconfirmed  

HLTV Senior Writer NER0cs joins to discuss Spinx on MOUZ, which CS players are being overrated, why The MongolZ have a bright future, 3DMAX, and more! Get the ultimate immersive gaming experience with Turtle Beach today! For a limited time only, head to https://TurtleBeach.com and use Code CSGO for 10% off your entire order. Control Body Odor ANYWHERE with @shop.mando and get $5 off off your Starter Pack (that's over 40% off) with promo code CS2 at https://www.shopmando.com! Exclusive $20-off Carver Mat at https://www.AuraFrames.com. Use code SANDB at checkout to save! (US only) Learn more about your ad choices. Visit podcastchoices.com/adchoices

SPONSORS: - Download PRIZEPICKS & use Code "JULIAN" to get $50 w/ your first $5 play: https://shorturl.at/2XCLm - Buy MANDO WHOLE BODY DEODORANT at https://www.ShopMando.com & use code "JULIAN" to get $5 off your first starter pack (***TIMESTAMPS in description below) ~ Luke Caverns is an Ancient Civilizations Historian, Researcher, and Anthropologist. He specializes in the lost civilizations of Egypt, South America & the Amazon Jungle. PATREON https://www.patreon.com/JulianDorey FOLLOW JULIAN DOREY INSTAGRAM (Podcast): https://www.instagram.com/juliandoreypodcast/ INSTAGRAM (Personal): https://www.instagram.com/julianddorey/ X: https://twitter.com/julianddorey GUEST LINKS - Luke YouTube: https://www.youtube.com/@lukecaverns - Luke Twitter: https://twitter.com/lukecaverns ****TIMESTAMPS**** 00:00 - Great Pyramid Story 12:41 - King Khufu's Tomb Mystery, Khufu's Sarcophagus, Archaeologists Discrediting Graham Hancock, Coverup Controversy 23:07 - Amon Ra's Egyptian Figure (2 Burials), Barbarians & Enemy 32:01 - Slavery in Ancient Egypt, Bible Moses Story, Moses Parting Sea of Reeds 43:43 - Luke Questioning Issues within Bible 48:19 - Khafre's Pyramid (Cult of Ra), Great Pyramids (Accident/Happen to Get Right?), Sphinx 01:03:44 - Diorite Kaffara Statue, Aerial POV of Spinx & Valley Temple 01:17:03 - Fall of Egypt & Lack of Power from Pharaoh's 01:25:43 - Mentuhotep II Collapse of Old Kingdom 01:32:13 - Greatest Female Pharaoh, Karnak Temple Obelisk 01:40:23 - Cleopatra's Needles Story, Hatshepsut 01:55:20 - Ancient Rome & Julius Caesar, Statue of Akhenaten, Nephrotic Egypt Statue 02:10:40 - Building Mini Egypt & Persians Attack, Persia's Rise, Alexander the Great (Persian Battle) Domination 02:22:31 - Iliad & Odyssey & Alexander finds Island from Homer, Alexander's Fractioned Macedonian Empire 02:27:30 - First Greek Pharaoh (Ptolemy Period) 02:40:15 - Republic of Rome & Being “Reluctant” Conqueror, Julius Ceasar Murdered After Returning to Rome 02:50:53 - Augustus Set Sail for Alexandria & Burns it to the Ground, Last Pharoah of Egypt CREDITS: - Host & Producer: Julian Dorey - Producer & Editor: Alessi Allaman - https://www.youtube.com/@UCyLKzv5fKxGmVQg3cMJJzyQ Julian Dorey Podcast Episode 272 - Luke Caverns Music by Artlist.io Learn more about your ad choices. Visit megaphone.fm/adchoices

The RMR results, Major-less Astralis getting fined by ESIC, mid-RMR rulebook change sets BIG back, Opening Stage Pick'Em, roster rumors, and more in this episode featuring hawka. ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

In this episode of “At Your Convenience,” CSP Editor Diane Adam talks with Hayley Thrift, director of public relations at Spinx. The podcast was recorded inside the retailer's new c-store concept Spinx Market & Eatery in downtown Greenville, South Carolina. Topics include the new store's features, including made-to-order gourmet food items, bakery items and Spinx's fried chicken.  Spinx is No. 77 on CSP's 2024 Top 202 ranking of U.S. c-store chains by store count.

Amazon's grocery boss leaves for mobile restaurant delivery chain Wonder. The Democratic National Committee is launching a new ad campaign focused on fuel prices. And Spinx opened the doors for its newest store concept, the Spinx Market & Eatery.

"Is that Mr. Spinx? Why does he have cucumbers on his eyes?" Our heroes break free of their tangled minds and recount their bizarre experiences. Oh, and they level up — thrice. Will it be enough to kill the Empressar? Probably not.   == CREDITS == Soundtrack "Strong Reclaimed" by Sayer Roberts "Rally at Work" by Sayer Roberts "A True Master" by Yi Nantiro, Epidemic Sound "Diamonds in the Sky" by Yi Nantiro, Epidemic Sound "Sudden Signs from Above" by Arylide Fields, Epidemic Sound "Skilled in the Arts" by Yi Nantiro, Epidemic Sound "Beatmospheres" by Gridded, Epidemic Sound "Vidderna" by Strom, Epidemic Sound "Stick Man's Blues" by Peter Crosby, Epidemic Sound "Through the Alleyway" by Jon Bjork, Epidemic Sound "Rain Show" by Farrell Wooten, Epidemic Sound "On a Positive Path" by Frank Jonsson, Epidemic Sound "Ghost Hunt" by Sixteen Wheelers, Epidemic Sound "Ancient Discoveries" by Gabriel Lewis, Epidemic Sound "Tourbillon" by Edward Karl Hanson, Epidemic Sound "Leaf" by Infinity Ripple, Epidemic Sound "Panoramas" by August Wilhelmsson, Epidemic Sound "Network Protocol" by Isaac Larson, Epidemic Sound "Tiderum" by Valante, Epidemic Sound "Moonbase" by Anthony Earls, Epidemic Sound "Diggin' the Drama" by The New Fools, Epidemic Sound "Shinjuku" by Leimoti, Epidemic Sound "Unspoken Peace" by Daniel Kaede, Epidemic Sound "Immovable as the Mountains" by Yi Nantiro, Epidemic Sound "Across Any Sea" by Christophe Gorman, Epidemic Sound "Tinder" by _91nova, Epidemic Sound "Teach a Robot how to Dance (Young Smoke Remix)" by Tommy Ljungberg, Epidemic Sound "Between Dreams" by Jon Bjork, Epidemic Sound "Future of Past Mistakes" by Rikard From, Epidemic Sound "Watercolor Motion II" by Trevor Kowalski, Epidemic Sound "Multifoil" by Ethan Sloan, Epidemic Sound

Ootko meidän discordin eka jäsen? https://discord.gg/XxEcdhP38x https://twitter.com/natu https://www.instagram.com/natucsgo/ https://twitter.com/RobuJohnson https://www.instagram.com/robujohnson/ (00:00) - Intro: loma, pyörä-katastrofi, Spinx (05:40) - CS päivitys (21:40) - Onko MOUZ maailman paras? (30:00) - IEM Dallas 2024 (34:30) - Stewie2k G2:ssa (36:50) - Liquid -cadian? (38:30) - Vitality, Complexity (45:20) - Guild Eagles disband (51:40) - Random EU-tiimit (56:00) - ENCE AC muutos (58:20) - USA Major 2025 (1:01:50) - Kuuntelijakyssärit

In this episode, Jim Bressi, vice president of foodservice at Spinx, discusses the intricacies of running a profitable convenience foodservice program at scale. Drawing on his extensive experience and global travels, Jim highlights the importance of consistency, scalability, and understanding regional preferences while maintaining brand standards. With insights into the evolution of convenience store food offerings and the value of a strong organizational culture, Jim sheds light on the key factors driving success in the industry. With special guest: Jim Bressi, Vice President Food Service, Spinx Hosted by: Nick Scherzer and Carolyn Schnare

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Set top boxes have long been looked at, theoretically at least, as single-purpose devices that would do nicely as digital signage media players, but it's fair to say a lot of software company developer and support teams have painful memories of trying to use consumer devices from China as Android-based players. They weren't reliable in terms of performance, or even in terms of what showed up from shipment to shipment. So what if a company that was expressly in the business of commercial-grade set top boxes for the pay TV and cable markets got into digital signage? That's the deal with a UK company called Amino, which now has two lines of business - pay TV and pro AV applications like digital signage. These are devices that are engineered to last for five or six years, and in a lot of cases, they are happily ticking away for a decade and longer. High reliability and remote management are inherent in the product design, so meeting that common pro AV demand was largely automatic. I had a good chat with Rowan Brunger, Amino's UK-based Sales Director, about the hardware, how the company goes to market, and what's involved if software companies and solutions providers want to add Amino devices as a hardware option. Subscribe from wherever you pick up new podcasts. TRANSCRIPT David: Rowan, thank you for joining me. I bumped into you last year and basically said, what do you guys do? Cause I'd never heard of you and we'd intended to do a podcast and finally got around to it. So for those people who don't know the company, what are you all about?  Rowan Brunger: Thanks, David. Thanks for having me on. So yeah, great to be here. We are a company called Amino and we've been around for about 25 years. So we have two sides to our business. Primarily, we've been a set top box manufacturer within the pay TV world and in the last few years, we've made a move to expand our enterprise TV and digital signage side of the business which is rapidly growing some momentum in terms of those 25 years we've been around, we've probably got 25 million devices in circulation and we've got quite a compelling device management system that we've tweaked from our experience in the pay TV world brought over to the pro AV arena for managing the states of media devices.  David: So when you say pay TV, you basically in the context of what North Americans would understand that basically means cable TV.   Rowan Brunger: Yeah, cable TV. So tier one, tier two, satellite providers where we would typically either have an Amino box or we'd OEM a box for the actual operator. So we're used to selling in big numbers to operators and what really differentiated us in that market which we're using in this one is the remote device management. So as you can imagine, if we're sending hundreds of thousands of boxes out, we want it to be relatively zero touch from the consumer's environment. We want them to plug the cables in and we do the rest remotely. So that's really what spawn orchestrate products, which is our device management platform that we've tweaked and made more applicable to the pro IV market to manage our media players. David: When you opened up the digital signage/enterprise TV market, was that based on inbound requests, Hey, we would really like to use a set top box. Do you support this market or there may be multiple answers but I'm curious if you kind of looked at where linear TV or cable TV was going, given streaming and the way that was bubbling up and realized, okay, we needed to, we need to open up a new market.  Rowan Brunger: I guess a combination of the various different scenarios you've given there. I mean, it's key to say we've always had a foot within the digital signage and enterprise video world. There's amino products that have been out there for sort of 10 years plus. I guess one of the main alliances partners we had in the past was Triple Play. So we manufactured a lot of the endpoints for Triple Play, Vitech and some of the IPTV streaming guys. So we've got loads of boxes out there in circulation and they're coming up for renewal or people wanting to upgrade to 4k, et cetera.  So that gives us a natural pull off. Okay, let's look at this market in isolation rather than just bolting onto our existing business. And then there's actually looking at the experience that we've gained in the pay TV world which has become a very competitive environment to be in. We can take a lot of that experience and truly add some value within the pro AV space with the gravitas of products and devices that we've managed previously and importantly, bringing over our video expertise onto the media player, rather than just looking at signage. We've done well where we integrate the two and we're finding a lot of customers are wanting both of them to run side by side on one device. So we can pull the huge expertise we have in enterprise video and actually put it on the same device next to, for instance, the CMS platform,  David: The markets and the use cases are, in some respects, very similar in terms of both needing very high quality of service. Like the stuff can't go down, right? Rowan Brunger: Sure. Yeah. We look at that from a number of different angles in terms of the physical player itself is truly enterprise grade, steel case designed to work in all environments 24 seven and some would argue we've even over engineered it. I mean, we've literally got boxes that have been running 24 seven in the field for 10 or 12 years solid and they're still displaying every single hour of the day.  But then there's the actual total robustness of the system and that's the inevitably when something does go wrong and things obviously do go wrong, the ability to fix that very quickly and also the ability to make sure the ongoing security and updates of that device are easy to get onto it, is as important as it running really. David: Yeah, I would say any number of CMS software companies in the industry have only in the last few years sort of realized the importance of remote device management, whereas it would have been inherent in what you do right from the start, right?  Rowan Brunger: Yeah, it's absolutely an upfront thought in where we've come from. And inevitably like a lot of things, you only realize how much you need something when you don't have it and when there's a problem. So certainly a lot of the signage projects that were involved with it, it's not their first signage project at all. They're learning from the deployments they've already made and what the pinch points were and what the really painful bits about it. And I think we're in a world now where people are taking their signage a lot more seriously with a big emphasis and cost push to get people back to the high street. For instance, when we're looking at retail, it's not just a tick box, we have a signage system in place. It's got to be absolutely robust. You've got to be able to rely on it and certainly, in times where people are paying to have their content advertised within the stores or the settings, they want to know it's actually been on the screen.  David: So you're competing in a few ways with different kinds of companies. You've got the consumer/prosumer android set top boxes that have come over from Shenzhen or whatever. You've got special purpose media play out boxes like a bright sign box and then you've got companies like SPINX who have their own box and other companies that have their own boxes and then you have PCs. So how do you kind of position yourself?  Rowan Brunger: It's a really good question. So, if I cover the first section early on, I'll probably include system on chip in that as well. So we've got a system on chip users, people have realized that there's value in having a player but maybe not as necessarily selected. One that hits all their objectives, I'm sure we say and then we've got the likes of the guys that do really high end boxes with multiple outputs. We've liked to keep this really simple, we have two products in our portfolio, for instance, we have a POE model and we have a Wifi model. So we keep it really simple. It's at a price point where we're stretching the people from the cheap consumer devices and the system on chip operators but add enough value to make that extra investment to move towards an enterprise grade player but we're underneath a lot of our true competitors that you know do fit for purpose signage players because we don't try and do everything. So I'll give you an example of that. We like to partner with specialists in areas that aren't familiar to us. So if somebody needs a four output player, we've got a partnership with the likes of Matrox to give you that. So those guys specialize in multiple output play, cards and players, we feed into it. But what that gives the customer is one platform for pretty much whatever they want to do. So our device management and the reliability is right up there with the top end competitors. But we've got a really simplistic view and what our customers like is no matter what they're displaying or what they're using the player for, it's the same player that does it all. So we've got one customer that has probably six use cases for our player within their stores. So a large rollout of about 650-700 stores in the UK and they're doing multiple things with it but they know it's a H 200 player,  that is just programmed in different ways for those different use cases and they really liked that from a maintenance point of view. So we've kept things really simple. We are definitely a step up and a professional grade player to challenge the lower end operators in the market and in terms of the higher end guys, I think we're hitting a price point. They can't, so we can get mass adoption from our product and we've got the right partnerships in place to cover all use cases with the guys that lead the industry in those areas. David: So for the age 200 player. If I'm buying, like 10 of them, what roughly in U. S. dollars would be the cost?  Rowan Brunger: So well, I'm doing a conversion in my head.  David: Well, give me, EU or sterling.  Rowan Brunger: Yeah, so we've got a package to trade within Europe that's about 240 pounds. Okay. What are we at? Just over 300 and that's a full two year package of enhanced support, premium device management software on the player itself. The player itself is around 200 on its own with various different options. So it hits a price point if you want to power four screens; for instance, in a video wall, it actually becomes price. It prices itself well enough that you could actually put a player on each of those screens, run it as a video wall, or run them individually and have that flexibility. So you're not just doing one or the other, yet you're still coming in at probably less than a quad head player that would powerful screens,  David: Yeah, and it's interesting. By standardizing on just one box for a whole bunch of different use cases, you could keep a spares pool without having to think, okay, I need two spares of these and two spares of those, and so on. You just have five on the shelf that you can pull off if you need to. Rowan Brunger: Exactly that. I mean the scenario I just gave you before, they're even looking at running just some simple audio or some simple HTML pages, just because they like the simplicity that everything is powered by exactly the same thing.  David: You mentioned that you've had stuff in the field for 10 years. Do you have a rated operating life?  Rowan Brunger: Well, the chipset has changed, which has sort of adapted that slightly, and then you've obviously got the provisions of using flash memory but the products that we have in the field have normally been programmed to do one thing, from the offset. So, quite often, decoding video streams, so they haven't really been updated, and that's why they've been running for 10 or 12 years plus. They're designed and warranted to run for, you know, the standard sort of five or six years, but they've become so robust that people have just left them in cause they're working.  We've got an airport with 2000 of the units in, and it's only because they want to change to full grade that they even thought about upgrading them. They've been running in excess of 10 years in that airport. David: So with the build for these units, if I have 500 of them and I decide, okay, I'm expanding, I'm an airport, I'm expanding a new terminal. I need 500 more. Is it going to be a different box at this point, or would that even matter? Rowan Brunger: The H200 has been around for about two years now, it really depends on when those proxies were deployed but the older boxes that we have in the sort of thousands out there, aren't supported anymore because they're well over 10 years old, but we've got a very easy upgrade path to swap those boxes out for the new range of products. And in doing that, they're all on the same platform for managing them then as well. David: I asked this because one of the complaints, among probably quite a few complaints with buying little Android boxes from Shenzhen or elsewhere is that if you order a hundred of them and then you order another hundred that second batch of one hundred might have different operating systems or different versions of the operating system, different electronics inside and everything else. So every time they show up, you're starting from scratch. Rowan Brunger: Absolutely. Welcome to buying consumer products. But we manage our chipsets and our components very strictly, and you can imagine the volumes we make them in because there's a lot of crossover from the set-top box side of the business but more importantly, we operate Android AOSP. So, we actually control and write the firmware for the product ourselves. So, in terms of updating the products, we're putting our own firmware on there. We're not relying on Google or Android updates for anything; in fact, much the opposite, because we want to be in control of it. So for instance, when you boot one of our boxes up, there's no app store. There's no standard Google browser on there, it's exactly what we choose to put on there, which makes it very fit for purpose because it's not running a million things in the background. We give it some very clear parameters and control exactly what middleware or APK that we put on there that's monitored centrally and all the versions and updates are controlled centrally as well. So you know exactly what's on there and you're the master of your own destiny.  David: Are you having to worry about security, well, I guess everybody worries about security, but because, as you just described, does that kind of greatly reduce the risks? Rowan Brunger: Yeah, it does, and again, this is something we've pulled over from our knowledge of the Pay TV market. So working with Android, we adhere to some pretty strict guidelines from Google in terms of security patches and timely updates, et cetera, and we actually think that's really very relevant in the pro AV market as well. So we've actually pulled over the standards that we adhere to on the Pay TV market, within the digital signage space. So as a result of that, we do at least four firmware updates a year that contain all the relevant security patches because there's nothing else on there in terms of an app store, et cetera, we're cleared in very highly secure environments. So we do a lot of work with the government. We've got a really interesting project going on, within a prison. So somebody's made their own middleware that they're using on the box and actually running entertainment within prison cells using the H200, which you can imagine is a super secure environment. So because we're in complete control of it, we can make it as secure as we like. And we're seeing that more and more prevalent with even retail rollouts now, with things like 802.1X authentication on networks, which I've never heard asked for but have been asked quite a lot for recently. So we quite got an agile development team. We're able to add functions like that and drop them in the latest firmware, and get them out of the boxes very quickly.  David: So because you're shipping a lot of units, do you get some sense of what the marketplace demand is?  For the longest time, people were saying, yes, it would be nice if we went to 4k, but nobody actually needs it yet, and for signage applications, it's probably never needed. Certainly, 8k, which is being marketed, is something that is probably years away if it ever comes. What is the marketplace actually using? Rowan Brunger: We are being asked for 4k a lot more. You're right in the signage space; it's less applicable, although a lot of the CMS providers don't even output in 4k, which, obviously, is a stumbling block. But for those that do, we're just testing a build for 4k content at the moment, and we've got out with some beta testers, and that's going very well. Obviously, 4k video is pretty much a must when people are looking at video, and that's very much our expertise, how we can stream that and what protocols we use to stream it and transport streams and encryption, is all around 4k and in particular, low latency is something that we specialize in quite a lot. So that takes us down certain vertical markets such as sporting and gaming where latency is an absolute deal breaker.  So we're seeing for our players and going back to your question about market trends, I'd say 50% of our opportunities are video-led, and the other 50% are signage-led, but with an element of video, a lot of them are with an element of video as well. So I think our expertise in video is really setting us apart here, and that, down the 4k route. POE has been requested more and more so that's why it's standard on our H200s. David: For retail more than anything I would imagine? Rowan Brunger: Actually, no, and I thought it would be, but what we're seeing is the requests for Wi-Fi is actually coming through retail more than anywhere else because when people are doing a retrofit of a store or they want to have quite an agile space within the store and be creative with where they're putting the screens, there's not normally a network point there. So we're actually finding some of our big retail rollouts are actually going down the Wi-Fi route, which I didn't expect, to be honest, but we've done a separate Wi-Fi unit for that marketplace because leading back to the security, a lot of our government and military deployments require us not to even have the ability to have Wi-Fi in the box altogether, which is why we didn't just add Wi-Fi to the existing H200. We've actually done it as two separate products. But yeah, interestingly, we've just launched our, or we're just in the process of launching our Wi-Fi unit, and the inquiries that are coming in are predominantly retail, and also the leisure industry as well as people want to put more screens and things in bars and pubs that typically have terrible infrastructure. Wi-Fi seems to be the easiest route to go with that as well.  David: You mentioned streaming, I'm a little curious about that because most of the set-top boxes that are on the market have onboard storage and digital signage most typically is forward and stored and played off of a hard drive locally.  Are your boxes doing that, or is it all streaming? Rowan Brunger: No, it's all streaming. We can digest the number of transport streams such as multicast, unicast, low latency dash, and low latency HLS because that's what our bread and butter are on the set-top box side of the world. So we're finding a lot of people for instance, within the betting industry where low latency is an absolute must, we're working with specific middleware vendors that provide the streams on an OTT basis, and we decode them locally on the box with various different levels of encryption and it's enabling people to reduce the amount of head end hardware that they've got. Even down to sort of office builds, government buildings where there's an element of wanting just some basic news channels alongside the signage, the ability to switch between the two. So typically, you'd have a big head end, consumer set-top box with aerial on the roof, bringing those streams down, we're able to bring them in completely OTT. So we remove the need for all of that hardware, and just, bring it on an OTT basis straight to the box, which is game-changing for somebody that's, maybe, got a larger state and they have to rent aerial space on the roof of all their stores, have a big server unit within there, consuming a lot of power, needing managing, and obviously bringing those streams down locally, we literally just pop the addresses into the box, into a JSON file and we pull them down through our player that's on board within the software stack. David: Are there worries at all about the quality of service and reliability of service for connectivity? Because God knows that used to be an issue, but maybe it's gone away.  Rowan Brunger: It's becoming less of an issue because with different encryptions and transport streams, they require a lot less bandwidth. It still needs assessing, obviously, when you're looking at a sign. But you can tweak the bitrate frames between the different encryption levels to get to a happy medium of a quality that you want alongside a bandwidth that you're willing to play with. So, it's becoming less of an issue. We can still obviously decode on-prem feeds as well when it's absolutely paramount that the feeds have got to be on-premises but the bandwidth is becoming less and less of an issue now.  David: You mentioned enterprise TV at the front end of our chat. How do you define that?  Rowan Brunger: So it's really whether it's TV-led, and what I mean by enterprise TV is, anything that's not residential, and not, hospitality so retail, office environments, sports stadium, things like that. That's where we'd class as enterprise TV. So it's the enterprise-grade of the box, but it's primarily streaming IPTV rather than just signage.  David: Do you sell direct or do you kind of go through a channel or, through software partners? Rowan Brunger: So we sell purely through a channel. We sell through distributors around the globe, trade only, through the channel directly to our system integrators, and onto the end users. So yeah, we're a channel-focused business, and that's something that we've recently sort of redesigned because that model is very different from what Amino is used to in the Pay TV market where they may deal directly with operators. We've decided that within this marketplace, a channel-only focus is the best way to go. It ensures our partner's protection on pricing and margin, et cetera, and also gives us scalability that we've got partners out there promoting the product for us. David: When you started Looking at the digital signage market, was it a little baffling when you realized how many software companies there are? Rowan Brunger: Yes, there does seem to be an ever ending amount of CMS partners to play with. We've worked with a couple that we've got a history with and onboarded those guys. We've now got an accreditation process. So when we do onboard a partner, we truly onboard them as a partnership rather than just saying, okay, we've tested that version of the APK, and that works fine. Let's call it accredited.  We actually onboard them and make a commitment that CMS will work ongoing with Amino and we go into a partnership with the CMS so we get beta releases of each other's software so we can truly test it in advance, which is why it takes a little bit of time to onboard, although we have quite an impressive list of CMS vendors on the list to go through accreditation, so it is definitely a nice route to market. We want to play with as many people as we can. At the same time, not overloading ourselves.  I think what's helping us there is the fact that a lot of CMSs seem to develop their APK before the platforms, so we do tend to be able to onboard people fairly quickly. And if there is any integration work that needs doing, it's fairly straightforward, and we've seen it before on somebody else's application. So yeah, onboarding and partnering are absolutely key for us over the next 12 months. We don't want what CMS somebody uses to be a barrier to sell, and it's not just a CMS, we work very closely with a number of streaming middleware companies as well that are specific in certain vertical markets as well.  David: So you're at a stand at some trade show and a CMS, digital signage CMS software company walks up and says, “Hi, I'm aware of you guys, and would like to be involved.” What's that thing you tell them when they say, “What do we need or how do we need to be set up in order for this to work?”  Rowan Brunger: Initially, we would ask for a version of their application and log in to their system, and we deliberately ask for no more than that because we want to test it as a virgin user if you like. So we put it through a first round of testing, which is: Does this go onto the box? Does it behave as if I would expect it to behave as a user? And that's our first round of testing. Normally, if that goes okay, we put it forward towards a full Q.A. test with our Hong Kong development team, which is a 400-point Q.A. test, which literally tests every element of the software and the integration, and at that point, we give a report back to the CMS provider to say, “Yes, it's all gone smoothly” or “It works, but can we suggest we do this and this integration together to make it a better experience?” And then, we go into the commercials of the partnership and make sure that we're sharing best practices with each other in terms of updates and things. We also have a lot of APIs that are available through our remote management software that we're finding a lot more of the CMS partners want to integrate into their CMS platform to give the end users, that one pane of glass, whether they're managing content or the device that they can do it in one place. So we have completely open APIs for the CMS partners to be able to do that and put a lot of the functionality that we have in our device management, actually in their front-end system that the customer is using every day for the content.  David: Does your platform support IP streaming or multicast or that sort of thing? Is there a foundational thing they have to have?  Rowan Brunger: No, not at all. We are dealing with some partners to put our video play technology within their CMS but it's not these guys' expertise. So, actually, the value to them of working with Amino is you can run their CMS software and switch seamlessly into an IPTV solution alongside their CMS. So, all of a sudden, they can speak to their customers about IPTV streaming solutions alongside pretty much any CMS rather than having to have a specialized solution incorporated into their roadmap.  How many times have we provided screens to somebody and you get the call, maybe two, two weeks later, two years later, “Can we put some TV streams through this for us?” For us, that's just a service we can turn on without having to ship any hardware. So it gives a lot of flexibility to these existing CMS deployments.  David: You mentioned the Hong Kong software team, is that where the company is based?  Rowan Brunger: No, we're based in Cambridge in the UK. So we are a UK-based company and have been for our existence. We have a couple of support teams. One is in Portugal, level one support is in Portugal, and we have a level two support team in Hong Kong. So we've got to follow the sun kind of coverage on support.  David: And manufacturing is done in China like everybody else? Rowan Brunger: Some manufacturing is done in China. There's a whole host of countries that we're manufacturing in. We've got stuff coming out of Thailand, Taiwan, Hong Kong. It depends on the product or the chipset, but yeah, a fairly well-diverse manufacturing plant. We're not stationed all in one place. David: What's the next AV trade show that you guys will have a stand at or a presence at?  Rowan Brunger: So Infocomm is coming up. We've got a presence there, and we've just done ISE, as you know, and then we've got some presence at NAB as well because we do see some crossover from some of the broadcasting shows that are looking at enterprise video or signage. So our trade show calendar is still split between Pay TV, but with a much larger emphasis than we have done on the AV world.  David: If people want to know more about Amino, where do they find you online? Rowan Brunger: Sure, just go to Amino.tv.  David: Clever! All right, Rowan, thank you very much for your time. Rowan Brunger: Thank you, David. Pleasure as always.

Haastattelussa ENCEN entinen ja nykyinen Falconsin IGL, Snappi! Jakso tällä kertaa luonnollisesti englanniksi. Toivottavasti tykkäätte! (00:00) - Intro + weather check-in (04:40) - Looking back at ENCE times (11:30) - Spinx, Sunpayus, sAw (17:15) - Honesty (18:25) - What if ENCE won G8 and Cologne? (23:20) - Playing with doto and allu (29:00) - Choosing Falcons (37:30) - RMR exit (44:30) - s1mple in Falcons (50:30) - "donk is special" (54:15) - State of CS2 (1:06:00) - Bring back train and map talk (1:11:40) - IGLing (1:18:10) - Advice for younger Snappi (1:21:50) - Having a kid gives you a superpower https://twitter.com/natu https://www.instagram.com/natucsgo/ https://twitter.com/RobuJohnson https://www.instagram.com/robujohnson/

Jasmine and Gracie are excited to be on the lookout for Spinx, mummies, not daddies, and whales?  Whales in Egypt?  And of course, King Tut!  Join them!

"All you ever needed to do was forgive yourself." Join us for a very special episode of Unbalanced Encounters, featuring 5 short stories from Agravar: The Prince and the Painter June and Hank crash a certain secret underground fight club. For Want of a Leaf Isaac and his family celebrate Animarum as best they can. Pain et Chocolat Safra reunites with Haldir, an old and dear friend. Early to Bread, Early to Rise Guard takes up the noble and ancient profession of baking. Too Big for His Dresses Mr. Spinx finds himself ill-fitting in the dress made by Safra's father. == CREDITS == Soundtrack "Company Keeper" by Frank Jonsson, Epidemic Sound "A Day Like Yesterday" by Headlund, Epidemic Sound "Triple Trigger" by Mike Franklyn, Epidemic Sound "Speed Fight Ozo" by Hampus Naeselius, Epidemic Sound "Never Get to Me" by Deaf Election, Epidemic Sound "Caught in the Net" by Jon Bjork, Epidemic Sound "Countryside Living" by Sight of Wonders, Epidemic Sound "After Hours Dinner" by Almost Here, Epidemic Sound "Memories of Youth" by Martin Landstrom, Epidemic Sound "Toy Army March" by Martin Klem, Epidemic Sound "Summertime Daydream" by Peter Sandberg, Epidemic Sound "d'Or" by Bonn Fields, Epidemic Sound "Rue Du Septembre" by Bonn Fields, Epidemic Sound "Cherry Blossom Waltz" by Trevor Kowalski, Epidemic Sound "Stay Here" by Cody High, Epidemic Sound "The Beginning of the End" by August Wilhelmsson, Epidemic Sound "Another Time" by Dip Diet, Epidemic Sound "No One but Yourself" by Claude Signet, Epidemic Sound "Reunited Once Again" by Kikoru, Epidemic Sound "Late for Work" by Speed the Spider, Epidemic Sound "Talk & Tell" by Christophe Gorman, Epidemic Sound "Hush Baby" by Jon Bjork, Epidemic Sound "Shattered Illusions" by Victor Lundberg, Epidemic Sound "Warmed" by Christophe Gorman, Epidemic Sound "Hustle and Bustle" by Sayer Roberts "Runnin' Late" by Mike Franklyn, Epidemic Sound "Eleven Thousand Feet" by Adriel Fair, Epidemic Sound "Odd Cousins" by Kikoru, Epidemic Sound "The Shuffle" by Stationary Sign, Epidemic Sound "Hard at Work" by Trabant 33, Epidemic Sound "Rise Before Tomorrow" by Deaf Election, Epidemic Sound "My Wood Cabin" by Christian Andersen, Epidemic Sound "Walk in the Park" by Dez Moran, Epidemic Sound "An Animal Conspiracy" by Arylide Fields, Epidemic Sound "No Second Chance" by Mac Taboel, Epidemic Sound "The Cost of Fear" by Jon Bjork, Epidemic Sound "No More Mistakes" by Atlas Kind, Epidemic Sound "Desert Wind" by Jon Algar, Epidemic Sound "Hush my Darling" by Yi Nantiro, Epidemic Sound

Another live-with-audience HLTV Confirmed show from Cologne features ENCE's star rifler NertZ, and Swani & Peca, G2's coach & manager. Success path of ENCE, honest talk about G2 keeping the roster, Valve's decision to ban partner leagues, and the IEM Cologne 2023 Playoffs. ⚠ Beware of a loud sound at 1:09:44. ❤ This show is possible thanks to XPERION Cologne: https://linktr.ee/xperion_germany ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

Mattman and Nine shared some stories from yesterday's appearance at Spinx here in Greenville, one being how Mattman stopped a guy who's thirteen years sober from buying more beer Headlines with kids shitting outside now Sports with Antonio Brown back in football...not the NFL tho..

"Hello! Did you miss me?" Reunited with her father after 20 years, Safra Harisa is finally getting to learn a little bit about her heritage and how she might reclaim her bond to Mr. Spinx. But will this ancient Taniyn ritual go off without a hitch? Probably not.    == CREDITS == Soundtrack “Stronger Rallied” by Sayer Roberts

In Episode 108 of Totally Deep Podcast, Doug Stenclik and Randy Young of www.cripplecreekbc.com bring you the lowdown on the world of uphill and backcountry skiing and boarding. Gear, technique, fashion, jargon, guests, and assorted spray from folks who know how to earn it in the backcountry. The world's best backcountry skiing podcast. Cody Townsend cements himself into the ski mountaineering lore (only you can define ski mountaineering) as his quest to ski The Fifty continues. This season, Tonswend has released videos documenting more classics, including a three-part Bugs to Rogers Traverse and a smattering of lines, including the Skyladder and a return to The Spinx in Alaska.  Cody also chats about the season at hand and his progress with the project, and as it comes down to spicier and logistically more complex lines, how the Fifty Project could extend several years out. Then there's the gear. Doug and Cody discuss the evolution of Salomon's touring boot lineup and the release of the new QST Echo 106 ski, a more touring-oriented QST.    On Episode 108 of the Totally Deep Podcast: What  does an astronaut have to do wth skiing What exactly is a freeride ski? Realtime documenting of The Fifty. Capturing lines we dream of. Partnering up and the learning. Developing the touring boot line. The new QST Echo 106. The future of The Fifty. Thanks for listening and joining us for the 2022-2023 season.  And remember: be safe out there.  More info about TDP at Totally Deep Podcast Blog on Cripplecreekbc.com or wildsnow.com. Comments: info@cripplecreekbc.com. Or leave a voicemail: 970-510-0450 Backcountry Skiing, Uphill Skiing, Rando (skimo?) Racing, Splitboarding, it's all uphill from here.

Pimp joins HLTV Confirmed to help us review the off-season shuffle and find the right place on the excite-o-meter for headtr1ck to NIP, KaiR0N- to Outsiders, npl instead of sdy, buster to C9, HUNDEN to Astralis, BoombI4 building a new team, and more. In other topics are ongoing HLTV Top 20 reveals, 2023 calendar, and HOT predictions for this season. ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

”I think we need to kill the Empressar.” Shaken to their core by a surreal encounter with the Elder God of Death, our heroes regroup — where else — in a bar. Over a few bottles of perilberry wine, they finally come clean. Mel has been conning Ganbald. Harisa has seen Sherwood. Guard has seen Demoiselle. Isaac is done serving the Empressar. But as they make plans to find their way home, we're moved to ask the most important question: will anything surpass Mr. Spinx in a Marie Antoinette ballgown? Probably not.

”It's about time I got treated the way I should be treated! I'm sick of the way you treat me! I am a god here.” You rarely want to find yourself permanently stuck in the afterlife, no matter how much it resembles a five-star spa resort. However, that's exactly what has happened. Guard, June, and Mr. Spinx all try to make the best of it while Isaac meets another warden and Harisa tries to get herself killed. Will our heroes survive being very-nearly-almost dead? Probably not.

We open by lamenting the near miss of Cosmo's return to the program before unpacking the last seven days of our training. Then in our feature segments we discuss best practices for running two marathons in short sequence -- and if this is something you should consider doing -- and tactical approaches to the upcoming Greenville Marathon at the Spinx Run Fest.

In this episode, Moses talks with EG valens (https://twitter.com/valens) about using data science to gain advantages in CS:GO, how Evil Geniuses are utilising players and staff to make the best team possible, the Valve's lack of matchmaking eco system in CS:GO, and of course the upcoming BLAST Showdown.Scrawny & launders interviews ZywOo and degster about Spinx in Vitality and OG's new roster, difference between practice and official games, work/life balance and motivation to stay on top, and AWP'ing in pro CS:GO.

dupreeh joins HLTV Confirmed to talk about making Vitality work, reflections on ZywOo & Spinx, winning at EPL and the RMRs, making it to all Majors, playing at 28, and the state of CS in general. In addition to that, the panel talked about Astralis roster dead-end and YEKINDAR's escaping the VP contract. ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

Freya "Freya" Spiers joins the hosts to discuss HenryG's return to casting, Vitality's quick improvement with the addition of Spinx, the current struggles of Danish rosters, the potential for ESL viewer fatigue, and more.

kassad joins HLTV Confirmed to go over ALL THE ROSTERS that were in question this break: G2, ENCE, Vitality, Liquid, FURIA, BIG, MIBR, EG, TITANS, Imperial, and more. Besides that, the Major cycle is touched on with RMR predictions and another ESIC ban debacle was combed over. ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

HLTV Confirmed is joined by Pimp to talk about the most important storylines of IEM Cologne, go through the roster changes (including G2, Vitality, OG situations), and find out the bests & worsts of the first half of 2022: teams, players, roster moves, and more. ➡️ Follow us for updates: https://twitter.com/HLTVconfirmed

Aleksandar "kassad" Trifunović joins the hosts to discuss the exciting rivalry between FaZe and Navi, the amount of influnece that players have over team roster decisions, Spinx's possible departure from ENCE, the reasons why Bo5 Finals aren't necessarily a good thing, and more.

Welcome to The Amazing Watch Podcast! In this episode Ian and Chelsea discuss getting the best flight, taking the fast forward when you'll be in first anyways, and detours that only one team is allowed to do. Watch along with Season 5 of The Amazing Race on Hulu, Amazon Prime Video, CBS. fuboTV, Spectrum On Demand, Paramount Plus, DIRECTV, or buy it as download on Google Play Movies, Vudu, Amazon Video, FandangoNOW, or Microsoft Store. Follow us on social media! Email: amazingwatchpod@gmail.com Facebook: The Amazing Watch Podcast Twitter: @amazingwatchpod Instagram @amazingwatchpod Don't forget to tag #AmazingWatchPod This podcast is hosted by ZenCast.fm

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Light from the Land of the Sphinx H. Forbes WitherbyPublished 1896 by Elliot Stock. If you don't want to read this long description, I have it in the Preface to this writing in the first recording. This volume was originally intended to offer the Bible student, who may not have the opportunity of referring to expensive works on modern discoveries in Egypt, references from such works, together with illustrations from the monuments, which would assist in following the writings of Moses; but the materials accumulated with the work, and it was found to be impossible not to enlarge the scope of the book. The reader who loves the writings of Moses will find in the notes contained in this volume important and reliable information, which has been obtained from works of the greatest value; and in the illustrations from the monuments, he will have before him authorities which cannot be disputed. The index should be consulted before the book is read, for it outlines a variety of subjects that must ever fire the mind of the Bible student with enthusiasm and fill it with suggestions. It directs attention to the works of learned authorities, upon whose profound research the arrangement of facts found in this volume is built up. Taking the Bible narrative of Israel's exodus from Egypt to their establishment before Jehovah at Horeb, as it stands — which is the only honest way for the first reading of any book — a plain though marvelous tale unfolds itself. By the aid of such side-lights as the ancient monuments and writings of Egypt afford, much of that which appears to be mysterious shapes itself into the everyday life of the past, and the movements of the Divine Hand in relation to that life are made clearly visible. The structure of the story forbids the removal of any one of its parts. To eliminate portions here and there is to criticize the masterpiece of the sculptor by lopping off its limbs or mutilating its face. The energetic hand of the writer delineates that which he actually saw and describes that which he himself and the men around him felt. The eye-witness is continually present in the story; none but he could describe the manner of Pharaoh in his might and pride; or the route taken by Israel from Egypt to Horeb. That the writer was a man of the day of which he writes is shown by his words, for he occasionally uses Egyptian words, which formed Israel's only means of conveying ideas that pertained to Egypt, before they became a nation. Again, none but a worker from nature could with a few rapid touches portray scenes and characters as does Moses. The work is living and energetic, painted on the spot, done from life; yet the scheme of the whole story — its grandeur and its simplicity, it's the unveiling of man and its revealing of God, its moral teachings and its eternal principles, it's the painting of the past and its picturing of the future — is to be attributed to a greater than Moses: it is the production of the Divine Mind, for its author is God. The present writer has selected certain portions from the inspired records and has woven around them some of the more general facts which science has given over to the general reader, and he has also introduced, here and there, broad principles which are afforded by the Scriptures, and particularly those of the New Testament.

Why did Snappi join the "sinking ship" of ENCE and how did the Finnish organization turn things around with an international roster and the leadership of their coach, sAw? Find out on HLTV Confirmed S5E32, where the Danish IGL together with the panelist debates the issues of the round robin format, issues of NAVI and Vitality, the ZywOo vs. s1mple debate, and more. ➡️ Connect with us: https://twitter.com/HLTVconfirmed

On this special Monday edition of NQLN, we recap yesterday's large sports game of pigskin and then we remember a boxing legend, two acting legends, and Screech. And this week's Master Debate looks for the Greatest TV Sidekick

Partisan politics are not my thing. I think they take away from actually addressing underlying issues. I am though pretty passionate about the success of my community and so is Joseph. In this conversation, we discuss why he feels it's important to work tirelessly to protect liberty in our community. We live in a polarizing time where what we desperately need is nuance. Long form podcasting allows for that and gives you a better view of what the individual is trying to communicate. That is why I felt it was important to bring Joseph on and give him a platform. Spinx.Chat tribe: sphinx.chat://?action=tribe&uuid=X9ELqB-6Z5-lVr4CY_01cA4QJJuDtV06wihOchVKRzt_XoonOBS_3SmEqCgn2Nqay5f6tdQ-SdhIFMX4nauIAPlAntlk&host=tribes.sphinx.chat Support me on Patreon: https://www.patreon.com/Tucsonblockchain ( https://www.youtube.com/redirect?event=video_description&q=https%3A%2F%2Fwww.patreon.com%2FTucsonblockchain&redir_token=QUFFLUhqbTY3NHdiM3BqZEY3bEQ2SXJwNFZSbzBYclRqd3xBQ3Jtc0ttbzhXdmFOdkktMDl6ZnQ4cjFJZG1VSGFEbGNGZEl6YVdtdmhLTVpaaVUyMHFJS3Q1dXR5Q1huLUEyQVljUFQ2LVZDbFIxdEhjbkhLRXNsNGUwY0hicFNoZHp3dTFkQ0Z3M0FYb01xNGlmVGhCWE04cw%3D%3D&v=y_vnMh9GNvM ) Email me at: tucsonbitcoin@protonmail.com

Nicole Dahl is the directer of Hotel McCoy which is a business that really seeks to celebrate the Tucson community. In this conversation, I was really blown away by optimism, candidness, and dedication to her staff. Hotel McCoy Website: https://hotelmccoy.com/ Spinx.Chat tribe: sphinx.chat://?action=tribe&uuid=X9ELqB-6Z5-lVr4CY_01cA4QJJuDtV06wihOchVKRzt_XoonOBS_3SmEqCgn2Nqay5f6tdQ-SdhIFMX4nauIAPlAntlk&host=tribes.sphinx.chat Support me on Patreon: https://www.patreon.com/Tucsonblockchain ( https://www.youtube.com/redirect?event=video_description&q=https%3A%2F%2Fwww.patreon.com%2FTucsonblockchain&redir_token=QUFFLUhqbTY3NHdiM3BqZEY3bEQ2SXJwNFZSbzBYclRqd3xBQ3Jtc0ttbzhXdmFOdkktMDl6ZnQ4cjFJZG1VSGFEbGNGZEl6YVdtdmhLTVpaaVUyMHFJS3Q1dXR5Q1huLUEyQVljUFQ2LVZDbFIxdEhjbkhLRXNsNGUwY0hicFNoZHp3dTFkQ0Z3M0FYb01xNGlmVGhCWE04cw%3D%3D&v=y_vnMh9GNvM ) Email me at: tucsonbitcoin@protonmail.com

MIBR's lineup headlined by cogu, MDL betting bans, Heroic's return to the top and more are covered in HLTV Confirmed S5E12, which features returning guest smooya. The British AWPer talks about the success of his countrymend ALEX, mezii, Thomas, and team Endpoint, while giving his opinion on olofmeister's reported return to FaZe. ➡️ Connect with us: https://twitter.com/HLTVconfirmed

Stewart formed Spinx in 1972 with a home heating oil delivery service and one convenience store in Greenville, SC. Today, Spinx operates more than 80 convenience stores in South Carolina and employs over 1,400 associates through its stores, food operations and related businesses.

Velkommen til tredje episode af "LIVS". Den seneste uge så ud til at være stille og rolig, egentlig bare fyldt med ESL One Cologne, men mandag aften blev det først spændende. Heroics coach, Nicolai "Hunden" Petersen, er blevet banned af ESL & DreamHack for at udnytte en glitch i spillet, som giver en kompetitiv fordel. Han har netop vundet ESL One Cologne sammen med Heroic og dagen efter bliver sejren nærmest ødelagt. Udover denne sensationelle afsløring, diskuterer vi vindere og tabere fra Köln, Snappis nye holdkammerater i Smooya og Spinx, Steel der forlader CS til fordel for Valorant og meget mere. Dagens gæst er ingen ringere end min egen kæreste! Sociale medier: Livs - Dansk CS:GO Podcast https://twitter.com/LivsPodcast https://www.instagram.com/livspodcast/ https://www.youtube.com/channel/UCQllo6ba_l5uQorTv462l5A https://www.facebook.com/LivsPodcast Kasper https://www.twitch.tv/kjasperloop https://twitter.com/KjasperGuy https://instagram.com/kaspertofting

丽莎老师讲机器人之人工智能的黑科技应用欢迎收听丽莎老师讲机器人，想要孩子参加机器人竞赛、创意编程、创客竞赛的辅导，找丽莎老师！欢迎添加微信号：153 5359 2068，或搜索微信公众号：我最爱机器人。自阿法狗横扫围棋界以来，人工智能的发展和应用就备受人们的关注，时至今日，其已经彻底融入进人们的生产与生活之中。在我们的印象中，人工智能时而是客服、时而是律师、时而是画家、时而又是主播......总之透过在传统行业中的不断应用，其所扮演的角色总是进行着飞速转换。而如今，人工智能又迎来了一些新的身份，比如牙齿护理师。今年年初，日本一家企业推出了一款全新牙齿护理产品——人工智能牙刷，由于该产品在加载人工智能技术之后，能够实现智能化的正确刷牙，因此被视为“牙齿护理专家”。那么除此之外，AI还有哪些不为人知的身份和应用呢？AI+马桶=智能洁厕员说到马桶卫生清理，不少人肯定都为之头疼。刷马桶干起来又脏又累，令人难以忍受，不少人选择请月嫂或者保洁，需要付出不少的支出。在此背景下，为了减少家庭的清洁压力和成本，有些企业借助AI技术打造了一款能实现自我清洁的智能马桶，效果堪比洁厕员。比如2017年，国外有一家叫SpinX的初创保洁科技公司，就发布了一款马桶清洁智能机器人，该机器人通过加载AI技术，能够在短短90秒之内自动完成马桶清洁工作，从而替代人工开启了智能马桶清洁的先河。2018年12月，纽约的公司也开发了一款智能马桶机器人。该机器人由刷子、支架、机械臂等组成，只需固定在马桶座上，其就可自动开启清洗模式，使用起来十分方便。AI+衣服=潮流服装师衣服的功效是为人遮体，同时保障人身的安全和舒适，让人看起来更加精致和美观。而假如加入AI技术，衣服又将变成怎样呢？在一些宇航服、消防服之中，我们大体能看到AI智能服装的影子。近年在印度，一家名叫Madura的服装公司就曾推出一款加载AI的智能服饰，该服饰是一款名为Icetouch系列的衬衫，其经特殊处理，能让体表温度降低5度。据悉，这款“会呼吸”的智能衣服在前胸和后背都拥有气孔，人们可根据自身体温手动开合这些气孔，之后衣服会根据你多次调节的操作记录下你的体温偏好，并在以后为你进行自动调节。见识过AI对服饰带来的改变之后，有美国科技媒体预测，未来的服装将成为真正的"多功能便携式高科技产品"，一件衣服不仅能同时播放音乐、视频、调节温度，甚至能够上网冲浪，这无疑是十分酷炫潮流的。AI+水杯=人体理疗师在日常生活中，水杯的作用无外乎装载和保温，但AI赋予了水杯新的价值和属性，那便是成为人体健康的监护人和理疗师。目前，市面上价值人工智能的水杯有很多，他们具备不同的功能，但最终都是服务于人体饮水的健康化和安全化。比如，有的智能水杯能够根据用户的性别、年龄、身高、体重、体质等综合信息告诉用户一天该喝多少水，提醒人们每天喝足身体所需要的水量；有的智能水杯会采集用户喝水数据，完整记录下人们的喝水过程，从而有针对性的给予饮水评价和建议，帮用户养成良好的饮水习惯；而有的水杯则在杯身上实时显示水量和水温，避免用户饮水时被烫伤或出现意外，总而言之都十分贴心。当然，除了上述这些智能产品之外，AI的应用还有包括智能眼镜、智能口红、智能粉底液等等。作为能干大事的人工智能，或许很多人猜想不到AI还能这么用，但他们的确已经赋能了我们的生活。而且相比于自动驾驶、生物识别等尚早崛起的智能应用，人工智能在我们生活中的小应用表现还明显要好很多，因此我们有理由对未来人工智能与生活的结合保持期待。

Episode 4 - People watching, joke time, and can I come to you house.

Weather RADAR displays an enormously massive lady bug swarm occupying ten miles of sky and appearing as climate data. Justin Beiber has challenged Tom Cruise to combat within the octogon. An unbeatable low point for human kind should this special event fail to occur. Even further discourse concerning Ancient Astronaut Theory and Anciet Aliens. Robert M. Schoch @schochrobert has a go at being reasonable with his "scientific research". Hollywood has declared an act of contesting the 109 hours of Antiquated Pioneering Space Explorer Theory resembles archaeological speculation that the Spinx is indeed a Kangaroo. It's so good it can't be wrong!

Welcome back... and Happy New Year! Today, the return of an old friend... Dry January... and a very drunken recap.

John Shaughnessy has solved the mystery of the ancient pyramids built all over the world. Amazing lost scientific knowledge on how the moon is a grandmother clock that regulates large cycles on Earth, like ice-ages and interglacial periods. If you're interested in the civilizations of the ancient past, Shaughnessy proposes a revelatory, mind-blowing new theory... MENTIONED ON THE SHOW Why the Pyramids Were "Really" Created by Brandon Ellis GUEST LINKS - JOHN SHAUGHNESSY Pyramid Gravity Force 1 Video lecture Pyramid Gravity Force: How the Earth's Pyramids Work by John Shaughnessy There is Something About the Moon... by Wendy Salter and John Shaughnessy HOST LINKS - SLADE ROBERSON Slade's Books & Courses Get an intuitive reading with Slade Automatic Intuition BECOME A PATRON https://www.patreon.com/shiftyourspirits Edit your pledge on Patreon TRANSCRIPT John: Well, I'm John Shaughnessy. I come from Massachusetts. I grew up in Massachusetts a few miles outside of Boston, downtown Boston in a small suburb. I first got introduced into space, generally the... whatever you want to call it, the Cosmo. I got a part time job working on the weekends at the Museum of Science. And in the Museum of Science, they have a place called the Planetarium. I was taking tickets. I sold tickets to the Planetarium show and I just fell in love with it. I was doing special effects. I was involved with running around during the show and changing slides in the old Don Howard projectors. I had to place myself Saturday, Sunday mornings, I'd get in there early. I had to place myself, this big giant sized projector, I could... After I knew what I was doing, I was click shutting the lights down and having my own light show and... That lasted about two years but it sowed a seed in me. Later on, like, I've always had, say, psychic anomalies that would just come in and I would know stuff before it happened or... to the point where I freaked out my friends I was hanging out with. You know, I just shrugged it off, made a joke out of it, because I didn't know what was actually happening. Back in the day, you didn't have a class in middle school on how to deal with your psychic personality, you know what I mean? Slade: I still don't think they have that on the curriculum. John: Yeah! You know, there's reasons for it, you know? It scares the hell out of people. Well, the ones that are in control, anyhow. That all being said, I joined the navy. It was my first geographical cure and you know, jumped into the service. I was on a small ship, the USS Miller and we did a couple of major cruises. I was at three 6-month deployments. One of them, it was like a small shakedown cruise just going up and down the eastern seaboard, say, from Halifax to Puerto Rico and maybe down to the Bermuda Triangle. One particular day in the Bermuda Triangle, I had an event and that kind of shook me to the core. You know, we're a mighty ship and it was a clear blue day. Not a cloud in the sky and the ocean was the same colour as the sky, really. You couldn't tell where the horizon began and end. We just lost power - this mighty ship with backup generators, batteries. Everything just went completely dark, still, quiet. There was no waves. Just amazing, and it was about 10 minutes of just sitting there. The eerie thing is it wasn't a lot of talking. It was like we were just looking into each others' eyes, because we had little battery lights that lit up so you could catch people's faces. It was like a show made up of mimes, you know? We were just looking at each other. It was, What's going on? What's happening here? So it was pretty profound. After we got the power back, generators finally kicked on. We got going and really, there was no real investigation that actually came down to the crew. I wasn't an Officer. I was just an enlisted man, so it kind of triggered something in me and I started chasing the paranormal, you know? One of my favorite books back then, I forget the author, it was 'The Probability of the Impossible'. It was like, maybe hundreds of incidences where things just defied logic and science. So I just got hooked into that and the Bermuda Triangle. There was a lot of books back then of the Bermuda Triangle and von Däniken. It was Erich von Däniken's work I grabbed a lot. Chariots of the Gods. Started reading a lot. I was always interested in the unknown, the mysteries. If somebody couldn't figure something out, I'd show up. But if everybody had it all figured out, it didn't interest me. So any puzzle or conundrum wasn't working right or something like that, I kind of enjoyed solving those problems. It's just how my brain worked and a lot of times, I would get intuitive... I'm the type of guy who would get from A to C without going to B. A lot of areas in my mind.. I have the mind where I can put things together inside my brain. I don't have to draw things. I can just, you know, build up systems and troubleshoot without having to do the hard work on the bench, so to speak. I can walk it through and all that while working and kind of works like that. So I got into the power industry. I'm retired right now. I got into generating electricity at the utility level. Gas turbines and boilers, steam turbines, so pretty large machines. 100,000 horsepower. I got into hydroelectric dam operations. I used to supervise, I was a supervisor in the big utilities, Con Edison Northeast Utilities, and retired now. So that's good. So I can put more of my work into my real passion and that's these leftover enigmas that seem to be sprinkled all over the planet. One particular time I got into... I was watching, getting into the pyramids. I touch topics and I just dig deep into them. I read all I could. I just get obsessed with it and I just hit a wall. I just hit a block. I was fascinated with gravity early on. I thought that was an awesome field to get into and try and unlock and basically get some kind of anti-gravity machines going. I did a lot of experiments. I was able to manipulate the weight of an object in an apothecary scale with rotating mass. As I got deeper and deeper into this, I would be reading Einstein's theory of special relativity, a lot of Tesla's work. Self-taught, really. Whatever I kind of got obsessed with, I just dug into it until I got to the bottom or got bored with it and couldn't get any further. One particular day I came into the living room. The TV was on and Michio Kaku's a pretty famous physicist out of New York. He was cutting right to a commercial and he kind of just, the last words he said as I was doing the dead drop into the lazyboy was, 'We still don't know what these pyramids are doing!' Then it just went off to a commercial. I muted it like I usually do. I just had an epiphany in my brain, just a thought going, I wonder what's on the other side of Giza? You know, the Giza Plateau pyramids. I've always had globes around me. If you came into my house, there's globes, atlases, maps and things of that nature. So I was pretty up on geography and, like I said, I got a little bit of training when I was 16 at the Museum of Science because I was obsessed with how the universe worked. So I got up, I walked across the living room, looked at the globe. There's a floor-mount globe about a three feet high and I found Giza and I spun it 180 degrees. Same latitude. Not antipodal, latitude. My finger landed right on a Hawaiian island chain, right? So that's strange. Just my background in gravity and the tidal lock with the moon and things like that automatically clicked in subconsciously, like this, the only real connection here is gravity. It's such a large distance. Therein lies the basis, the foundation of a theory that I've put out into the world with books, videos, talks, conferences and so on and so forth. So as time went on, next couple of weeks, my brain was just set on fire. I was driving down the road writing down notes. It's like you got this proverbial download of 30,000 words in about 5 minutes. And you're like back-engineering what you just took in kind of, type of thing. Because it was pretty profound. You know, the hair on the back stands up, on your neck stands up. You get the shivers. You know you're on to something. Long story short, I started saying, If Giza lines up with Hawaiian hot spots, what are the other pyramids doing? You know. So you gotta back out of my early theory that there's a connection between the two and say, Well if there's a connection between those two there's gotta be a connection to the other ones. Lo and behold, every time I went to a large cluster of pyramids, a large pyramid, 180 degrees and on the same latitude, there would be a volcano that aligned with it. So the pyramid at sundown in Mexico aligned with Mount Sigiriya in Sri Lanka, which is an ancient volcano. It has a, if you can believe it, an alien-shaped, elongated, not alien, elogated shape skull for a magma plug, and it's got huge claws at the base of it and nobody knows where it came from, who built it or anything. They rival the size of the Spinx, so that's interesting. Then I went over to the Chen pyramids, a large cluster of pyramids and that aligned with the... ironically, the Bermuda Island, which, unbeknownst to me at the time, it was made up of two ancient dormant super calderas that actually make up that island. And then there's El Tigre. It lines up with the Andaman Islands. Down in Guatemala, those pyramids are twice as high as Giza. As I said, El Tigre, the other name escapes me but... La Dante. It was like, 'Okay, these pyramids are lining up with these volcanos, or this strip of volcanic islands, or another island with a volcano.' So after I get up to 20, and then 30, and then 40, I said, 'Okay, alright. There's definitely a connection here.' And I'm like, at the time I didn't have it all figured out. I don't know if I have it all figured out now but I'm pretty deep into the theory. I was like, 'Okay, what's driving this...' My mind at the time, I just felt like gravity was static on the earth, that my concept of gravity was static gravity like, we have the gravitational field and it's x amount of meters per second, the force of it, and... After writing the book, I wrote my book and then a lot of times you get as much information as you have, and you have to get it out of you. You have to put it in writing and so I put my first book out, Pyramid Gravity Force. During that process of putting that all together, if you look at the cover of my book, it's the earth, the moon, and a large pyramid. A large super-imposed pyramid on the planet earth and I got a little one-line diagram that goes from the pyramid down to the core and back out to the moon. So that's where the gravitational energy was coming from that was actually connecting these spots together. Now, at this particular geographical time, geological time, sorry, geological time frame that we're in right now, the Nile Valley pyramids are aligned with the Hawaiian hot spot. That particular alignment is active right now. That in and of itself is, I call the Hawaiian hot spot the Magma Relief Valve of the planet in that particular location. It's the only constant erupting volcano because it's artificially controlled from the large pyramids on the other side of the planet. So basically we spin through the gravitational field of the moon, and that is the perpetual motion. This is a perpetual motion energy machine and you get the feedback from that energy when you go down to the ocean and see the tides roll in and roll out. I mean, this is a massive energy connection between this heavenly body we call the moon. So I said, 'Okay, it is the engine, the mechanics behind the system that basically lowers the gravitational field. When the pyramids of the Giza plateau spin through the moon's gravitational field, it lowers the gravitational field under the Hawaiian hotspot and allows that magma to dribble out. Now, granted, different alignments out there in the solar system like we just went through, not to get off topic. I gotta watch out or we won't be coming back. I mean, this is a real weird alignment anyway. I'll just touch this. Hopefully I can get back to where I was going. Slade: I'll bring you back in a minute. I'll bring you back. John: Well, I mean, this is where I've sold a minimum in conjunction with that, at the same time, we have all the planets on one side of the sun. You have this huge draw of gravitational pull collectively by all the planets, and that's why... Consequently, we have this very hot summer that we just went through. On top of when the sun is at a solar minimum, it actually puts out more radiation. It's actually hotter. Most people can probably identify.. when they walk outside, it feels like someone's jumping on your head. Slade: Yup. John: Pushing down on you. It's like someone's deflecting your field. It's like you're carrying a 50lb backpack around everywhere you go. Slade: It's making us feel a little crazy, right? John: Oh yeah, definitely. It's a lot of energy coming in and most people probably intuitively will just duck in from one shaded place to the next. From one air conditioning place to the next just to stay out of it. Anyway, so that all being said, getting back to the moon and the pyramid here. When we spin through the, the alignment of the pyramids and the Giza Plateau, they're set up in the Orion configuration, or dogleg. The smallest pyramid cuts into the moon's gravitational field. Because we spin in to the moon's gravitational field. So what this does, this way they have it set up, so if you can visualize, the earth spins in to the moon's gravitational field, it sets up the Fibonacci vortex, okay? And then the other larger two pyramids, GP2 and GP1, follow suit and flow through it. Now that creates a huge gravitational vortex in that zone and it goes through the planet and lowers the gravitational field on the Hawaiian hot spot and allows the magma to freeflow . That all being said, that's kind of the mechanics of what's going on with Hawaiian hot spot and the Giza Plateau pyramids. Slade: So it's controlling the volcanic forces at work in the earth, right? It's stabilizing something, right? Like what's the purpose here? John: When you step back, the god built the planets. If you go back and all the, you go into the ancient texts, it was built by higher minded beings, God, whatever you choose. And you put a planet together like Earth, you're gonna ask, What are my biggest challenges here? One of the biggest challenges on earth is magma control, like controlling tectonic plate slips. Most of our volcanism, volcanic activity on the planet are, build up pressure, explode, kill everything for a hundred miles around and seal it back up again. So that all being said, I mean you've got the Ring of Fire, which we have, you know, consistent volcanic activity. And right in the middle of the Ring of Fire is the relief valve of the Hawaiian hot spot. So it's actually, when we do go into these alignments I just alluded to this past summer, well since April. We went in, all the planets are on one side of the solar system. When that happens, going back just 120 years, you can go back thousands of years now, but just the last 120 years that actually happened SIX times. Every time that happened, we had a 3000% increase in volcanic activity on the planet. So, stepping back, your inner solar system, your planets in the solar system and it's affected by outside gravitational influences by the planets. So you're the host planet for intelligent life. So you want to keep it calm. So what you do is, you build some pyramids and you create this relief valve using the gravitational force of the moon, which is the biggest player of gravity on the planet. The other planets do increase and decrease that force, but nevertheless the moon is the biggest gravitational force. When these energies come into play on the planet, and create magma pressure, and especially in intergalacial pressure like right now we're in the warm up period, so you're in expansion, the poles are rising, the plates are getting squished together on the equatorial region because of heavier ocean. So you get a lot of... we're going from pumpkin-shaped to spherical-shaped. So you're in a constant changing environment. So this tool, this mechanism, this engineering, that's been on the planet for eons, I think it comes and goes. These things have been, probably have been rebuilt before. These pyramid systems, they've been rebuilt as the little ones underneath have been... As a technology comes back into the human consciousness and mainstream grabs it and says, 'Hey, these things are important. We'd better do something about this.' They're actually playing a critical role in our survival. And that re-emphasizes the rebuild and the physics and everything else that comes along with this. To sum that up, that's what this is. It's terraforming, and it's also, I hate to use the word geo-engineering, because it's got a bad rap lately, but it's geo-stabilizing. In essence, when you get control over... You saw that amount of magma come out of the Hawaiian hot spot just recently because the alignment of the planets and solar minimum piggyback. And that alignment we had a lot of magma... If you didn't have the Hawaiian hot spot, the lower gravitational field with the pyramids and the Nile valley manipulating that and allow that magma just to flow out freely, and after that the Hawaiian hot spot just sealed up for a year or so. It'd have been a catastrophic explosion beyond biblical proportions. We could have been going into the Stone Age a lot sooner, so... And what that particular location does, it lowers the lower mantle and upper mantle pressures and allows it to bleed out. And it prevents super calderas like Yellowstone Super Caldera from erupting. There's another giant super caldera in South America. So there's a reason behind the madness. All the magma. No pun intended. But there's a reason behind magma control so that's what it's all about. That's kind of where I've pulled this all into some serious scientific theory. And what backs up my gravitational theory is the moon and the high tide. A lot of people aren't aware that on the moon side, you get the high tide. On the moonless side, 180 degrees opposed to it, you get a high tide also. I call that the moonless high tide. So you get the moonless high tide and a moon high tide. Therein lies the evidence. Physical, repeatable, observable evidence that this is how gravity works on the planet. Recently, just recently, like the last couple of weeks, Russian scientists released a study and got published, I think, by Itmo University, I forget the name of the university in Russia. They built the Giza GP1 to scale using the same material. And what they did was they submerged it in bath of, not a bath, they submerged it with electromagnetic energy. And what they were able to find was, the three chambers inside the pyramids, the king's chamber, the queen's chamber and the subterranean chamber actually were focal points, okay? They were concentrating the energy inside these focal points. And then they did the same thing with the non-ionizing radiation, we know it as radio waves, some form of radio wave. They got the same result. They published the result. I put a, it's in my book, you know, the different language but the pyramids of subatomic particle lenses and they published the videos on YouTube in my name on pyramids being lenses. And I've also put down, in the chambers were the focal points. I've gone out and spoke about this. I had a Russian interview on, it was like their version of the History channel. I got about 15 minutes. They were really great. They do a lot of great graphics, bring in my theories and about four years ago, three years ago I think it was, three or four years ago, so I got on Russian TV and I got to expel on that. Somebody must've been listening, 'Maybe this guy's got something going', they were actually pretty advanced in their search for understanding what the pyramids do and what it's all about. So that all being said, that came back recently to me as, okay, proof positive, your theory's right in a lot of aspects. They're actually coming back with physical repeatable evidence that are being done in controlled labs. So the next step is getting the industry to, the mainstream paranormal New agers to look at these alignments that are... There's a connection between the pyramids and volcanoes. These things are... You're not putting 6 million tons of stone together to run a couple of light bulbs, you know? It's just... It's not... And I'm not putting down anybody that comes up with theories of what have you, because it's those theories that we all build our theories on. You know. Get higher and try to figure out what's going on. Slade: So what is this... What's coming up? What does this mean? You talked about the fact that this is controlling the ice ages, right? There's going to be a pole swap at some point, correct? John: Well I'm probably the only one out there that's not in the pole-swap camp. Slade: Okay. John: But I'll tell you why. Getting into my science there, and looking at the planet and knowing how the subatomic particles flow, just like the astrophysics did, theoretical physics community and all the what do you call it, neuron, electrons, galvatron, croutons, whatever. They all come in from the poles and they go out the equatorial region and they rotate back in, just like magnetic flux line, they call it. That's so famous. That image of the magnetic field on the planet that creates the Van Allen belts and so on and so forth. But what these, I call them 'planet builders', what they've done is they've created a huge... The Antarctica continent is shaped like a hexagon, just like Jupiter and Saturn. In effect, it kind if ties in with the tetrahedron. So it's a tetrahedron. In my book, the tetrahedron, the shape of this particular continent, sets up to be a subatomic land. It's like a giant pyramid. It concentrates the inflow of subatomic particles in the southern hemisphere of the South pole. Now if you look at the North pole, there's nothing really up there. It's water. Ice. There's no giant land, so... What you have to visualize is that you're going to have a higher flow coming in to the North pole and a slower flow coming in to the South pole, because the continent is right there. Antarctica. So what that does is slows down the subatomic flow. And it also slows down, or blocks the flow, to singularity. So you have a larger, say like a 70% of subatomic flow in the North and 30% in the South. But the flows are actually going at different velocities. So this is what locks in the magnetic field. Slade: So this is maintaining the magnetic field and it's also ultimately making the planet more habitable? John: Right. Slade: Without it, it'd be too chaotic and volcanic for us to even be here. John: Yeah, exactly. So it's all part of a huge system. Anywhere you go, any continent you go to. That's why I'm a naysayer on the magnetic pole swap because the people that built this planet, that did the last rebuild terraforming, they're geniuses. They're not gonna... They don't want to come back and rebuild pyramids every year. They do it and they make it last. And they see the human consciousness when it needs to be and when we get to that level so we can understand the technology and re-utilize it and build it and re-build it. And things of that nature. Slade: Let's talk about that for a second. So first of all, let me ask you: When you talk about the planet builders, are we talking Atlantis, Lemuria, Ancient Aliens kind of concept? Where do you come in in that whole thing? Do you think somebody came here and set this all up for us? John: Yes. Slade: Well tell me a little bit about that. Because you're obviously a very science-minded guy, but then you also, you do mention Edgar Cayce. And you talked about how you were intuitive, that you get these downloads, which was crazy because this is the first time you and I ever talked, but the people who listen to this show, that's something we talk about a lot. So when you say it's coming into the consciousness, talk to me about, are you one of the people who's bringing this through currently? Do you see yourself as, okay, I'm meant to bring this information in and put it back into human consciousness? John: Yes. Yes, I feel with the trying to stay humble and keeping your ego in check is like... And yeah, I feel that my information is radical. It's new. It's not mine. This stuff was already here, you know? I'm just saying, 'Hey, I think this is the way these things work.' And this is the proof that I have. This is the physical evidence. So yes. I think there's a, it's part of the human consciousness. We get seated at different ages in the human history. This last go from the ice age into the intergalacial period was, I feel that was when humanity peaks at the peak of the intergalacial period. And then we go into the ice age and we drop off and we forget everything. Only to come back and do it again the next intergalacial period. Hopefully we won't be on the oil economy. We got sidetracked into this oil economy by some corrupt individuals. But anyways... Slade: So this is waves of rise and fall of human civilization, right? John: Right. Slade: Okay. John: Yeah. Like it's, I'll just make a point. Michael Cremo, I don't know if you know. He's done a lot of work and he's got a lot of evidence that modern man has been down here for a minimum of half a million years. There's evidence all over the place that supports this. Obviously it's buried because it goes up against the narrative, whatever the narrative is, at any particular day, so... It's just a rise and fall of humanity. Now to come into this environment, you have to take the physical form of a human being. Whether it's just walk-ins or people just coming in to you who are what have you, or you're just a real mature soul and you've ascended to a real high level of consciousness. You've got the Buddha, Gandhi... You have a lot of very mature souls. Jesus Christ and going on and on and on. I'm just talking. There's a lot of them. I'm not getting everybody obviously. I don't want to offend anybody. Just saying, there's... We get seated with these master, these masters, really, of human consciousness. And in the middle of that, we get people like Tesla, Einstein, Newton, Galileo, a lot of the Greek philosophers, you know. They come in and they pass a message along. They bring in ideas, technology, concepts, sciences, and things of that nature. So it's just a re-circulation of the human consciousness on the planet. And it's like the old proverbial saying that your soul is here to have a human experience, not the other way around, you know? So... And I think it's a tool for growth. For the spirit, if you believe in reincarnation. You know, you keep coming back and hopefully every time you come back, you utilize that space and time to ascend to a higher state of consciousness. Then maybe eventually you don't have to come back. You can just sit up on the moon and watch the big show. Slade: So in your theory, the information that you're accessing, is kind of held in the collective consciousness. Some people call it the Akashic Records. There's some other dimension where this knowledge exists and different ones of us tap into it and... I actually think a lot more people tap into it than we even give credit for. You know, there are those Ascended Masters that are kind of like the rock stars. Then there's a bunch of us that do it a little bit here and there, right? Just humbly, you know, thinking of it that way. John: Yeah. It's a collective group. Yeah, I wouldn't be where I was at... Maybe I'm supporting somebody I don't know, and they're going to come up with something that's going to add to it and... You know, the Russian scientist's doing this research and then... The time spans are amazing. I mean, you're only down here for a short amount of time and all of a sudden, you're starting to get this wave of science, you know? And it's all coming together collectively from different parts of the world. And from places you'd never expect. It's like, we're a very small pocket of humanity. People in this new age, 'truth seekers', they call them, I call us. We're not satisfied with the story. We're lifting up the curtain in the Wizard of Oz, going behind the curtain to see who's running the machine, you know? So we're a small pocket. We do add to the human family. We do add a consciousness that helps, will help in the future, I think, to navigate us through changes that are coming. And that's what I think it's all about. Slade: Do you think there's something we're supposed to do in particular, like, do the pyramids need to be refurbished in some way? Do they need to be maintained or something like that? John: Right, I mean, my mind's always going on about that. Where are we at? What do we need to do? Are we at a critical stage right now? Four years ago, they came up with there's three times the amount of water trapped in the transition zone between the upper and the middle mantle. And I'm thinking, so that ties in to the volcanism. That ties in to the magma control. A lot of times, I just get overwhelmed. I have to jump on the couch and take a nap. Slade: Do you think we're in danger of breaking something? John: Yeah, I think we're going up fast. The only thing I can say to sum up where I'm at, the science and everything. And I go back to the icicle sample. Thank god for the icicle samples. Because we can get some grounded, we can ground our thoughts on this particular source of time. It goes back a million some odd years, but... They've done a great job showing intergalacial periods and ice ages. For the most part, it's like clockwork. It's like 104,000 ice age. 13,500 on average for the intergalacial period. That all being said, all the ice is not going to melt in intergalacial period. If that ice is 1,000,000 years old, we just came out of the ice age 13,500 years ago, something big is... A lot of people are going to wait for the ice to melt. But my theory in my other book, 'There Is Something About the Moon' gets into the physics of what controls the ice age. And that is, as the ocean rises, the gravitation - this is common knowledge - the moon's gravitational field is shifting from the glaciers and the polar caps... The actual claw... There's actually five images on the moon and that tells a whole story also but anyway... So transfer to the hard surface of the ice to the girth of the ocean. What that does is it, it in effect is causing the earth to tilt from 23.5 or 23.4 to, it's gonna go to 19.4. And Tiwanaku, the Gate of the Sun, the name escapes me now, but that's 4 degrees off. The Gate of the Sun, the sun is supposed to rise in the middle of it, and it will once we get back to the ice age tilt. The ice age tilt goes from 23.5 to 19.4 degrees, and then the sun will rise up in that Gate in Tiwanaku. I think it's in Tiwanaku. But anyway, long story short, there's a highway in Mexico and they've been marking the summer solstice sun at high noon and it's been travelling 100 miles, feet, north.. south.. Let me back up a bit I'm stepping on my words here. They're actually marking it and they're marking the tilt. They're acknowledging the tilt is changing. So we are going to a lower tilt. Now I mean, you gotta go like a thousand miles to get one degree. It's a pretty significant move. We don't think it is. You know, 23 to 19, you wouldn't think it'd be that big, but it's actually a significant drop, a significant movement. And the sun actually coming up over the Tropic of Cancer in the summer, what do you call it, solstice. The summer solstice in the southern hemisphere. So what's going on is that the solstices are squeezing the Tropics, the Tropic of Cancer and Capricorn will move to 19. And what that does is lowers the light on the upper latitudes, both in the north and southern hemisphere. And essentially, we're going into ice-building mode, okay? So this is the control mechanism that the moon also ties into. It's a multi-faceted engineering system that protects the planet. So if we're melting faster because of human activity, which we probably are because of the higher greenhouse gases that they surmise based on the previous ice core samples, we are way off the charts. We're going to accelerate the melting of the ice and it's going to hit what I call is the high water mark. And I think maybe [unintelligible] island out in the Pacific might be the high water mark island. It's only 5 feet high. I mean, 5 feet's a lot of water but it is... As the water increases in volume on the earth, you're gonna get more of a larger degree tilt in a period of time. So instead of 100 feet a year, you could be getting a quarter mile. At some point, it's gonna really pick up pretty quick. And that'll launch us into the Ice Age. But this is a good thing! Because we're in an environment where you can't flat-line. Because there's so much energy, you know, the sun, the Milky Way galaxy, the planets... You're either going up or down. And that's just the nature of the beast that we're here. Hopefully we attain higher level of technology that operates on the natural energy that the planet makes besides burning stuff. We're in the burn-scorch technology. Slade: Yeah. It does seem like there's probably some better stuff we could be using. My mind is spinning out as you're talking. I'm thinking about, you know, maybe I'm getting downloads too. But I'm seeing all these potential explanations for what we call astrology, I'm seeing how a lot of this ancient architecture that we have, the Henges and all this stuff that the Aztecs left behind. They really are some kind of calendars or... Like you were talking about, they're marking the stuff on a highway but that's like the really scratching on the chalkboard version of something that has been left behind for us, right? John: Mmhmm. There's a book by Derek Cunningham. He surmised that the Sacsayhuamán, you know the saw-toothed walls up there, and I did the same thing. We're different theories but he's kind of, said there was a language being... Those shapes of blocks are actually a language. Slade: Ooo! Interesting! John: Again, it's like a lot of these little tiny pockets of information. These people come in, they do the download, and they're gone. You know? So it's up to the next generation to come in and pick up and keep putting this together. But I think it's all experimentation. That whole plateau up there is literally instrumentation of where we are in the ice age, or intergalacial period, and you can actually measure the degree of tilt on a lot of these obelisks. The three big power centres: You've got the Vatican, Washington, and some other place that escapes my mind. It has these obelisks and they actually measure the tilt. That's what those giant obelisks do. You can keep an eye on and measure what's going on. There's a huge one in St. Peter's Square where I've been before. That all being said, there's instrumentation all over the place. You got Stonehenge. You got the pyramids. You got the temples. The temples are, haven't completely been transcribed as a lot of... There's information on the moon. You know, the images on the moon also tell a story of where we are in the intergalacial period. There's a famous stele with Akhenaten and Nefertiti. They're with their three children. They have a disc and they have the lines coming down. At the end of every one of those lines, is a saying, iconography of the moon, the claw, right? So you have this claw coming down. And you go through, this is actually a very short period in the span of time between the ages. This is actually just a very rare point in time on earth. The intergalacial periods are very short span of time. A normal weather pattern is an ice age on the planet. 100,000 years building ice and you know, it's habitable, humanity survives it, and life does flourish, but obviously not, you know, a mile under a glacier, but... That all being said, as far as I'm concerned, a lot of the hieroglyphs and steles and images in Egypt, because Egypt seems to have a huge amount of information on the moon and Mars and a few things. Past life on the planets. So essentially, that stele, that round circle in the middle is the moon, okay? And we rock back and forth. And you can read the moon as it comes up out of the ocean or out of the horizon with the naked eye. Any higher than that you have to get binoculars because you have a lensing effect when it comes up out of the ocean. But that tells us where you are in a time on the... There's two clocks. You got the moon clock, which I bring in through with my research with co-author, researcher, Wendy Salter, we kind of put this whole thing together on what the moon is. So there's a way of reading where you are in the intergalacial period and the ice ages. Just to sum that up. Now the other big clock is the wobble of the earth, where you know it's a 26,000 year old clock (approximately, it's a little less than that). That actually is the only time we really have besides the moon. Like, if we didn't have wobble, we wouldn't really have any real time clock. Because we're just in a Milky Way band just floating around the centre of the Milky Way galaxy and all the stars remained the same. If you didn't have that wobble, you wouldn't have the change, the zodiac houses where the sun rises up in the zodiac house. We're in Pisces right now, going into Aquarius. So those are two giant clocks. So it's like the wobble was made on purpose, to give us time. For me, every time I get into, you know, why is it like that? And it comes back with an answer. That's the answer I got for the wobble. It's not like a defect. It's not... Everything is perfect on this planet. The solar system is absolute perfection. The highest level of knowledge. Universal knowledge. Slade: Wow. Okay. Just to sum up for everyone because, again, we're just scratching the subject here, and possibly starting like, 10 different conversations that I could go on. John: You gotta take it easy on the listeners, you know? Slade: I'm going to link to all these things in the show notes for everyone. But just to break it down so everyone knows where to go to get more information. You've got a free YouTube video of a lecture that you gave. It's a pretty good length. The main book that we're talking about here called 'Pyramid, Gravity, Force - How the Earth's Pyramids Work'. And then you co-authored with Wendy Salter, a book called 'There is Something About the Moon'. What are you working on next? John: Just the last couple of weeks, I brought in some discoveries on what controls the solar minimum. The irony here is, the orbit of Jupiter is 11 years. The solar minimum is 11 years. It's like, Hello! Is anybody paying attention? Even though the earth rotates past Jupiter 11 times, it only comes in direct alignment between Jupiter and the sun, the last 11 years, right before the solar minimum, so it comes into direct alignment between the sun and Jupiter. And so basically I put a paper out. I put a video out and I do try to get my stuff published. I put stuff out and I send it to the journals and hopefully someday they'll get it through. But the bottom line is that what a lot of people don't understand is Jupiter is not in orbit around the sun. It's like a binary orbit between these two bodies, like they actually wobble on each other's axises, or elliptic orbits, rather and they kind of bounce out and around each other. So Jupiter's movement actually creates a corkscrew orbit of the sun and that also has an 11 year cycle on it also. But long story short, what happens when the earth gets in between Jupiter and go full circle, going back to the point I wanted to make, once the earth gets directly in line with Jupiter and the sun, it actually blocks the gravitational field and kind of filters it, it lowers it. That is the source of all the turbulence on the sun, the sun storms, the black spots, the giant magnetic storms. Once the earth comes in front of it, the sun just goes into this pure fusion environment. This fusion or fission. I always get the two mixed up. But anyway, it just goes into a ball and there's no spots at all for three or four months. Sometimes six months, it depends. So it actually shuts down all that turbulence. Once the earth passes out, it's like two or three months later, the torque begins between these two giant heavenly bodies and you get the massive storms. So that was a recent discovery that I've just brought in and... It's tough. I'm not in academia, so I'm outside. But I think that's where you do the most work. I don't have any constraints. Nobody's saying I can't say this and... I can say whatever I want. I don't have to.. Slade: Right. John: So this is like what's good for me and I think it seeds the, whatever you call it, the mainstream world of academia. It resonates out and they'll grab it and, you know, put something together with it. I mean, we need to know these things. We really need to get on top of what effect these planets are having on our environment. Because we're in a critical stage where we're pretty critical with the heat. There's a lot of environments that are changing yearly, rapidly, very fast and... Prior to that, I put a system together to forecast volcanic activity a little tighter with the alignments with planets and the moon and the moon's Metonic cycle. It's a huge influence on, say, volcanic eruption. So like right now, the prediction system we have right now, the USGS (United States Geological Survey), every country that has a volcano has some kind of prediction. Basically it's like, Okay if it's rumbling, they put a warning out to the local people, societies that are living at the foothills of these volcanoes. Guatemala, we lost a lot of people just this past summer. They put the warnings out to them and the people there are saying, 'Well it's been rumbling the last 10 years. Nothing happened.' I'm trying to get someone to help me build a software because all this information is available. What you can do is, you can go back the last time a volcano erupted and you can time stamp it and go back and say, Okay, get the time stamp on the last time it erupted. Go back to a solar simulator and find out where the positions of the planets were. And then also go back to the moon's Metonic cycle. And what it is is, and this is what I've done is, I've gone back and looked at where that eruption was and I went back and saw they were in the same alignment that it was 400 years ago. I don't know the date off the top, just to make a point. And so, what this does is you can go to these people and say, 'Hey look. We know it's been rumbling the last 20 years. 100 years. Nothing's every happened, but the last time it did erupt, the planetary alignments were in this position and the moon was in this particular part of the Metonic cycle.' So you have more concern. So you're coming in with a little bit more heavier warning than 'You should get out of here.' Slade: Yeah. John: It's tough for people to just pick up and take off. Their whole lives' are around these volcanoes. So that's kind of what I'm working on. I'm working on that type of thing. I'm working in on tying in this new ocean system into my volcanic theory that said three times the ocean are locked up in this material called ringwoodite. It's a blue crystal-type looking thing but it actually has a high percentage of water in it. It's equivalent.. the numbers are wild. One of the numbers was three times the equivalent of the surface ocean volume is trapped in this lime. Trying to figure out, is this something we need to be concerned with? It's a huge amount of water and my thing is, seeing that all the ice doesn't melt, we know that because, you know, going back a million years, we've had 10 ice ages with this ice that doesn't melt. And then you have the Biblical flood stories from every ancient text. And I'm thinking, Does this water that's trapped in that section of the planet, is this something that somehow ruptures and bleeds out to the surface for 40 days and 40 nights and goes back down, you know? Slade: Yeah! Ohmygod. John, this is all so truly truly fascinating. We're just scratching the surface here. I want everyone to go and check you out so that they can see the amount of research and detail there is behind all these stories and theories. Tell us where we can go to find you online. John: I'm on Facebook under my name John Shaughnessy. My websites are http://www.pyramidgravityforce.com/ and http://www.tisatmoon.com which is abbreviation for There Is Something About the Moon. You can go there too and that'll link you up. Both my books you can get on Amazon, Kindle or Lulu books. Yeah you can get my emails also. I'm available. Contact links are on those two sites. I have 62 videos on YouTube and yeah, I'm pretty much out there. Google 'John Shaughnessy'. Put 'Pyramid' or 'moon' behind it because there's a lot of John Shaughnessys. I guess we have a reputation of breeding like rabbits. There's thousands of them. So you want to get the right guy. Put pyramid and moon in and you'll get me. Slade: I'll be sure to put all those links that you just mentioned. Make them really easy for people just to click on. John Shaughnessy. Thank you so much for taking some time this morning to talk to me. John: Alright. Really appreciate you having me on too, Slade. Thanks again. Maybe we'll do it again soon.

Joanna Robinson and Richard Lawson discover more about Delos in "Riddle of the Spinx," the fourth episode of the second season of Westworld. William and Bernard come across old acquaintances, The Man In Black returns to Las Mudas. This week's interview is Jonathan Tucker who discusses how portraying Major Craddock has him thinking like a bird.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we hit on a visit to the Masters golf tournament and talk to the first white caddy there. We also chat about rubber hookers, how the Great Spinx of Giza lost its nose, the poop train, the Craft Brew of the Week (Hop Gunn), tipping, and more ridiculousness!

Episode 20 “Hurt” lead singer from J Loren Wince / Marshal Dutton lead singer from “Hinder” / Pinstriping by Spinx / Movie Cars with Jeff Allen Ethan D. takes us on a Rock and Roll Journey with Marshal Dutton the new lead singer for the band “Hinder” who is known for such hits at “Lips of an Angel” and “Better Then Me”.  Hinder has had some lead singer changes as of late and hear from Marshal’s mouth on how he stepped into the spotlight.   J Loren the lead singer of the rock band “Hurt” gives us a casual chat from his couch about whats going on in the life of this rockstar, from his custom built ambulance, to his new warehouse, and if he is writing any new music.  J Laren gives us one of the most down to earth stories of becoming and what it is, to be a grounded Rock Star. Jeff Allen  and Ethan D. are joined by Texas pinstriped SPINX and hear about all things fine line.   Jeff shares his new movie vehicle acquisitions like the motorcycle used on the movie ”Ghost Rider” starring Nicolas Cage. Mark your calendars for June 18 and 19th and meet Jeff Allen and Ethan D your hosts of Skidmarks Show at the 2016 FCA (Ferrari Club of America) Annual Meet in Columbus, Ohio!  They will be singing autographs and recording there throughout the weekend.   Season 2 Skidmarks Show brings you 30 minute bi-weekly Automotive and Rock-n-Roll radio show broadcasting on iTunes all year long. Complete with your hosts, Jeff Allen from CNBC’s “The Car Chasers” and owner of Flat 12 Gallery and Ethan D. host of the morning radio show “The Rock Show” on FMX.  Behind the scenes video and photographs at skidmarksshow.com .  Skidmarks Show is available on iTunes, Podbean, Soundcloud and skidmarksshow.com.  Keep up with the conversation with the hashtag #skidmarksshow. SkidmarksShow.com

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Michael spinks vs Marvin Johnson. 3/28/82 http://youtu.be/mQJZkbuEcss Michael spinks vs Dwight Muhammad Qawi. 3/18/83 http://youtu.be/vZ4ziX9iV7U Michael spinks vs Gerry cooney. 6/15/87 http://youtu.be/mP_piqK5Q1I

This poem is for a dear friend to post on her site, in memory of the tragic loss of her son who only lived to 17.

"Synopsis: A missing girls diary is found at a bloody scene; could this be a link to her mysterious disappearance, and the rash of strange murders in this deserted small town of Georgia." - spinx