The Oldest Jaw Surgery in the World.

CT Scan Reveals Complex Jaw Surgery Performed 2,500 Years Ago on a Woman from the Pazyryk Culture.

Read more: https://omniletters.com/the-oldest-jaw-surgery-in-the-world/

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(Irish) Milesians

The Milesians represent the Irish people. They’re Gaels who sailed from Iberia (Hispania) after spending hundreds of years travelling the Earth. When they landed in Ireland, they contend with the Tuatha De Danann, who represent the Irish pantheon of gods.

The 2 groups agree to divide Ireland between them: the Milesians took the world above, while the Tuatha De Danann took the world (the Otherworld).

The 9th century Latin work Historia Brittonum (History of the Britons) says that Ireland was settled by 3 groups of people from the Iberian Peninsula. The 1st are the people of Partholon, who all died of plague.

The 2nd are the people of Nemed, who eventually return to Iberia. The last group is led by 3 sons of a warrior or soldier from Hispania (miles Hispaniae), who sail to Ireland with 30 ships, each carrying 30 wives.

They see a glass tower in the middle of the sea with men on top of it. But the men don’t answer their calls. They set out to take the tower, but when they reach it, all but 1 of their ships are sunk by a great wave.

Only 1 ship is saved, & its passengers are the ancestors of all the Irish. In later Irish texts, it’s the people of Nemed who are drowned while trying to capture a tower by the sea.

The Labor Gabala Erenn (The Book of the Taking of Ireland), an Irish work which was 1st compiled in the 11th century AD by an anonymous writer, purports to be a history of Ireland & the Irish (the Gaels).

It tells us that all mankind is descended from Adam through the sons of Noah, & that a Scythian king named Fenius Farsaid (descendant of Noah’s son, Japheth) is the forebearer of the Gaels. Fenius, a prince of Scythia, is described as 1 of 72 chieftains who built the Tower of Babel. His son, Nel, Weds Scota (daughter of an Egyptian pharaoh). They have a son named Goidel Glas.

Goidel crafts the Goidelic (Gaelic) language from the original 72 languages that arose after the confusion of tongues. Goidel’s offspring, the Goidels (Gaels), leave Egypt at the same time as the Exodus of the Israelites & settle in Scythia.

After some time, they leave Scythia & spend 440 years wandering the Earth, undergoing a series of trials & tribulations similar to those of the Israelites, who were said to have spent 40 years wandering in the wilderness.

In some versions of the Lebor Gabala, there was a succession dispute between Refloir & Mil (also called Galam) over the kingship of Scythia. Mil kills Refloir, & is exiled for this kin-slaying. Eventually, Mil & his followers reach Iberia/Hispania by sea & conquer it.

There, Goidel’s descendant Breogan founds a city called Brigantia, & builds a tower from the top of which his son, Ith, glimpses Ireland. Brigantia refers to Corunna (then known as Brigantium) in modern-day Galicia in Spain, & Breogan’s tower is likely to have been based on the Tower of Hercules, which was built at Corunna by the Romans.

Ith sails to the island with a group of men. He’s welcomed by its 3 kings: Mac Cuill, Mac Cecht, & Mac Greine. These 3 are members of the Tuatha De Danann, which ruled Ireland at the time. With is then killed by unnamed attackers Ith’s brother, Mil (also called Mil Espaine, “of Hispania”), lead an invasion force to avenge his death & take Ireland.

After they land, they fight against the Tuatha De Danann & make for Tara, the royal capital. The hill of Tara is a hill & ancient ceremonial & burial site near Skryne in County Meath, Ireland. Tradition identifies the hill as the inauguration place & seat of the High-Kings of Ireland.

On the way, they are met on 3 mountains by Banba, Fodla, & Eriu, the wives of Ireland’s 3 kings. They’re believed to have been a trio of land goddesses. Each woman says that the Gaels will have good fortune if they name the land after her. One of the Gaels, Amergin, promises that it shall be so.

At Tara, they meet the 3 kings, who defend their claim to the joint kingship of the land. They ask that there be a 3-day truce. During which the Gaels must stay a distance of 9 waves from land. The Gaels agree. But once their ships are 9 waves from Ireland, the Tuatha De Danann conjure up a great wind that prevents them sailing back to land.

However, Amergin calms the wind by reciting a verse. The surviving ships return to land & the 2 groups agree to divide Ireland between them. The Gaels take the world above, while the Tuatha De Danann take the world below (the Otherworld) & enter the sidhe, the ancient burial mounds the dot the Irish landscape.

Amergin divides the kingship between Eremon, who rules the northern 1/2 of Ireland, & Eber Finn, who rules the southern 1/2. The Lebor Gabala then traces Ireland’s dynasties back to Milesian Gaels such as Eremon & Eber.

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Kazakh Archaeologists Uncover Scythian-Era Treasures

https://fed.brid.gy/r/https://timesca.com/kazakh-archaeologists-uncover-scythian-era-treasures/

Sergei Prokofiev – Suite Scita

La Suite Scita (Scythian Suite) di Sergei Prokofiev è un’opera orchestrale esplosiva, selvaggia, e con una storia affascinante.

Un balletto rifiutato e una direzione tutta nuova

Nel 1915, Sergei Prokofiev (1891-1953) era un compositore giovane e ambizioso in cerca della sua grande occasione. L’occasione della vita gli capitò quando Sergei Diaghilev, il genio dietro i leggendari Balletti Russi, lo invitò a scrivere un balletto. Il tema era incentrato sulla mitologia scitica antica, un mondo di guerrieri nomadi, dai rituali feroci. Prokofiev si lanciò nel progetto, creando un suono esplosivo e primordiale mai udito prima.

Ma c’era un problema: Diaghilev odiava quella musica. Rispedì al mittente la musica come troppo “rumorosa” e “barbarica,” dicendo che era impossibile coreografarla. Invece di buttare tutto, Prokofiev recuperò i migliori brani e li trasformò in una suite orchestrale in quattro movimenti. Ed ecco che nacque la Suite Scita, un’opera che avrebbe consolidato la sua reputazione come compositore audace e modernista.

Un suono come nessun altro

La Suite Scita non è la tua tipica composizione classica. Dalle prime note, ti colpisce con massive forze orchestrali—tamburi tuonanti, ottoni scintillanti e armonie frastagliate. È grezza, aggressiva e avvincente, spesso paragonata alla Sacre du Printemps di Stravinsky per la sua pura energia. Ma dove Stravinsky costruisce complessità, Prokofiev va dritto al punto.

I quattro movimenti della suite hanno una narrazione libera, ispirata alla mitologia scitica:

• “L’Adorazione di Veles e Ala” – Un’apertura vulcanica piena di ottoni imponenti e ritmi travolgenti, evocando un rituale mistico pagano.
• “Il Dio Nemico e la Danza degli Spiriti” – Un’esplosione furiosa di suoni, come se antichi guerrieri stessero scontrandosi in battaglia.
• “Notte” – Un breve riposo, fatto di melodie inquietanti, allo stesso tempo misteriose e minacciose.
• “La Gloriosa Partenza di Lolli” – Un finale trionfante e ad alta energia che trabocca di eroismo e tensione.

C’è un colpo di scena: nonostante il suo tono intenso e selvaggio, Prokofiev non ha preso alla lettera il mito scita. Ha descritto la musica come più focalizzata sulla creazione di un’atmosfera “barbarica” che sulla narrazione storica. Più o meno come una colonna sonora fantasy per un mondo antico che esisteva più nella sua immaginazione che nella realtà.

Shock e Controversia

Quando la Suite Scitia debuttò nel 1916, suscitò fin da subito un grande scalpore. Il pubblico era diviso: alcuni erano entusiasti della sua energia selvaggia, mentre altri erano scandalizzati dalla sua pura forza e intensità. Ma una cosa era chiara: Prokofiev si era imposto con forza sulla scena musicale del tempo.

Prokofiev in seguito riutilizzò alcuni dei temi della suite nel suo Concerto per pianoforte n. 2 e in altre opere, dimostrando quanto credesse nel potere di queste idee.
Se ti piace la musica orchestrale che sembra uscita da un film d’azione, la Suite Scitia è un ascolto imperdibile!

https://www.youtube.com/embed/d9xv9zo4t2U

#balletsRusses #ClassicalMusic #composer #diaghilev #music #orchestra #piano #Prokofiev #scythian #SergeiProkofiev #suite #viola

Sergei Prokofiev – Scythian Suite

The Scythian Suite by Sergei Prokofiev is a wild, explosive orchestral work with a fascinating backstory.

A rejected Ballet and a bold new direction

In 1915, Sergei Prokofiev (1891-1953) was a young and ambitious composer looking for his big break. He got the chance of a lifetime when Sergei Diaghilev, the mastermind behind the legendary Ballets Russes, invited him to write a ballet. The theme whould be Ancient Scythian mythology, a world of nomadic warriors, pagan gods, and fierce rituals. Prokofiev dove into the project, crafting an explosive, primitive sound unlike anything heard before.

But there was a problem: Diaghilev hated it. He dismissed the music as too “noisy” and “barbaric,” saying it was impossible to choreograph. Instead of scrapping everything, Prokofiev salvaged the best parts and transformed them into a four-movement orchestral suite. And just like that, the Scythian Suite was born—a work that would cement his reputation as a daring modernist.

A sound like no other

The Scythian Suite is not your typical classical music. From the first notes, it hits you with massive orchestral forces—thundering drums, blazing brass, and jagged harmonies. It’s raw, aggressive, and thrilling, often compared to Stravinsky’s The Rite of Spring for its sheer energy. But where Stravinsky builds complexity, Prokofiev goes straight for the jugular.

The suite’s four movements paint a loose narrative inspired by Scythian mythology:

• “The Adoration of Veles and Ala” – A volcanic opening filled with ominous brass and pounding rhythms, evoking a mystical, pagan ritual.
• “The Enemy God and the Dance of the Spirits” – A fast, furious explosion of sound, as if ancient warriors were clashing in battle.
• “Night” – A brief, eerie respite, filled with haunting melodies that feel both mystical and menacing.
• “The Glorious Departure of Lolli” – A triumphant, high-energy finale that surges with heroism and tension.

There’s a plot twist: despite its intense and savage tone, Prokofiev didn’t really take the Scythian myth seriously. He reportedly described the music as more about creating a “barbaric” atmosphere than depicting a historical narrative. Think of it as a fantasy soundtrack for an ancient world that existed more in his imagination than in reality.

Shock and Controversy

When the Scythian Suite premiered in 1916, it caused a stir. Audiences were divided—some were thrilled by its savage energy, while others were horrified by its sheer loudness and intensity. Critics didn’t know what to make of it. But one thing was clear: Prokofiev had arrived as a force to be reckoned with.

Prokofiev later recycled some of the suite’s themes in his Piano Concerto No. 2 and other works, showing how much he believed in the power of these ideas. If you’re into orchestral music that feels like an action movie, the Scythian Suite is a must-listen!

https://www.youtube.com/embed/d9xv9zo4t2U

#balletsRusses #diaghilev #orchestra #Prokofiev #scythian #SergeiProkofiev #suite