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Al Bielek: The man who claimed to have traveled to the future and remained 2 years in the 2749
From that moment, he discovered that he had worked on the Montauk Project, an alleged US government secret project carried out in the 1970s and 1980s at the Montauk Air Force Station on Long Island, An immediate consequence of the Philadelphia Experiment, had developed psychological warfare techniques and incredible research, including time travel. Bielek was convinced that his memories had been repressed and blocked to keep that project secret.(Al Bielek)
As his memories were reappearing, Bielek claimed to have recalled that his birth name was Edward Cameron and that in the Montauk Project had worked with his brother Duncan Cameron, a young man with psychic abilities, when they were in their early twenties. A few years later, Bielek publicly presented his story at a conference, stating that the “Philadelphia Experiment”, apart from achieving the invisibility and teleportation of the USS Eldridge, had also opened a wormhole that connected the present and the future.(Al Bielek)
Bielek explained that he and his brother were commissioned in 1983 to travel back in this wormhole to destroy the equipment of the USS Eldridge, since their arrival in 1983 was causing several problems, so the only option was to go into the past and Avoid their arrival. According to Bielek, he and his brother completed the mission, however, by an accident both ended in 2137, where they spent six weeks in a hospital bed recovering from burns from being in contact with hyperspace. There they stayed for 6 weeks until Al Bielek, by means unknown to him, ended up traveling to the year 2749, where, according to his version, he stayed for two years.
Bielek reported that when he arrived in 2749, he woke up in a hospital. The first thing that caught his attention was the advanced surgical material and typical of the establishment, incredibly revolutionary, which had nothing to do with the current. According to Bielek, the medical system of the future used “vibrational and light treatments.”
He also affirmed that there were numerous floating cities that could be transported to different parts of the planet. Some of them were more than 2.5 miles high, all thanks to years of research that allowed to control the law of gravity. And the world’s population was extremely small, for in 2749 there were barely 300 million people around the world. And the United States, one of the largest countries on the planet, contained about 50 million inhabitants. According to Bielek, this was because only a few people would have been able to adapt to the “new world”.
Bielek also said that there were no wars in 2749, although there had been a great conflagration between the Russians and the Chinese, as well as between the United States and Europe. But in 2749, according to Bielek, wars were practically impossible. There were no military or soldiers, navy or any air force, so any conflict between countries was irrelevant. In fact, there was no government, as a computer system of synthetic intelligence, built in the 26th century, executed everything and made everything work correctly. This system, moreover, had eliminated physical labor forever.
Bielek also reported that no one needed money, simply “there was no need to have it.” Everyone had their own “credits”, which allowed them to “buy” everything they wanted and wanted at any time. The land had also undergone drastic climatic and geographical changes in fact, two-thirds of the present state of Florida had disappeared under the ocean. The inversion of the earth’s poles, meanwhile, had been stopped by an artificial pole structure that had been specially designed to stop the great collapse that could have occurred.
Bielek, after returning to look for his brother in the year 2137 – according to reported – would have returned with him to the year 1983 by the same hole of worm, although the Montauk project managers, after registering all its fabulous history, were worried to erase Their memories to prevent it from being publicly propagated. Bielek, after recovering all his memories, has since related his unprecedented and presumed future experience in more than 40 conferences and more than 50 radio interviews. Many, of course, have accused him of being a charlatan, although not a few who believe that he is a true crononauta or traveler in time.
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The Nostradamus of the Balkans
“People’s consciousness will change. Difficult times will come. People will be divided by their faith. We are witnessing devastating events that will change the destiny and destiny of humanity. ”
For those who do not know her, Baba Vanga, also called the Nostradamus of the Balkans, predicted major world events, until the year 5079.
She mysteriously lost her sight only when she was a child and her family found her several days later in serious condition, with her eyes closed and covered with dirt.
Vanga experienced her first vision during the incident and was convinced that she had been given the power to predict the future and heal others.
The Bulgarian seer predicted the attacks of September 11, 2001, saying that “two birds of steel” would attack the “American brothers.”
She also predicted the outbreak of the coronavirus pandemic and Brexit.
Although she made many predictions during her life, Baba Vanga rose to international prominence after her death in 1996 when the Russian nuclear submarine Kursk sank just four years later.
Before her death, Baba Vanga predicted Kursk would be flooded but at the time many believed she spoke of the city Kursk in western Russia.
Baba Vanga died on August 11, 1996, of breast cancer.
Her funeral drew large crowds, including politicians.
Due to almost 85% of her prophecies coming true, she has now become a cult figure and her predictions continue to be mentioned by the mainstream media.
A baby rattle is a rattle produced specifically for the amusement of an infant. Rattles have been used for this purpose since antiquity, and experts in child development believe they help the infant improve hand eye coordination by stimulating their senses.  
Baby rattles go back at least 2500 years. A rattle made of clay was found in Poland in a grave of a baby who was a member of the early Iron Age Lusatian culture, and was documented by archaeologists.  That hollow clay rattle was shaped like a pillow and was filled with little balls. It was found next to a tiny urn containing the cremated remains of the baby.  Many similar examples of baby rattles have been recovered from Greco-Roman archaeological sites. Often, these rattles were in the shape of a pig or a boar, and sometimes a figure of a baby was riding the animal. Pigs were associated with the Greek goddess Demeter, who was invoked in rituals intended to protect babies in life and death. 
Greek philosopher Aristotle says in his Politics that young children should be given a rattle (particularly one designed by Archytas) to keep them quiet and "stop them from breaking things in the house". 
In colonial America, artisans made elaborate gold and silver baby rattles incorporating bells and whistles and teething devices made of coral.  In 1777, in the early days of the American Revolution, John Hancock wrote to his wife, Dorothy Quincy Hancock saying, "I have sent everywhere to get a gold or silver rattle for the child, with a coral to send, but cannot get one."  Their daughter Lydia later died at ten months of age.
Edith Wharton, who was born during the American Civil War, received a similar elaborate silver baby rattle as an infant, which was engraved with her name and had a coral teething extension. 
Rattles can be made of wood, plastic or cloth. Many of the rattles are brightly colored, have animal or flower shapes, and typically make sounds when shaken. These sounds can range from the dull sounds typical of wooden rattles to the jingling or bell type sounds that metal rattles make.
Rattles provide a source of stimulation. Babies like the sounds they produce and follow the path of the rattle with their eyes, as well as giving them a sense of discovery as they try to grab and hold the rattle.
Many rattles have a dual function, doubling as teethers as babies grow. They have textured surfaces which are easy on the gums and provide the stimulation that babies need.
- , the daughter of Unas, the last king of the Fifth dynasty. Iput was the mother of Pepi I. , who may have been the mother of Userkare (according to Jonosi and Callender) 
- Khentkaus IV 
Teti is known to have had several children. He was the father of at least three sons and probably ten daughters.  Of the sons, two are well attested, a third one is likely:
According to N. Kanawati, Teti had at least nine daughters, by a number of wives, and the fact that they were named after his mother, Sesheshet, allows researchers to trace his family. At least three princesses bearing the name Seshseshet are designated as "king’s eldest daughter", meaning that there were at least three different queens. It seems that there was a tenth one, born of a fourth queen as she is also designated as "king’s eldest daughter".
- Seshseshet, whose name was Waatetkhéthor, married to Vizier Mereruka, in whose mastaba she has a chapel. She is designated as "king’s eldest daughter of his body". She may have been the eldest daughter of Iput. 
- Seshseshet with the name of Idut, "king’s daughter of his body", who died very young at the beginning of her father’s reign and was buried in the mastaba of Vizier Ihy. 
- Seshseshet Nubkhetnebty, "king’s daughter of his body", wife of Vizier Kagemni, represented in her husband’s mastaba. She was maybe also born of Iput. 
- Seshseshet, also called Sathor, married to Isi, resident governor at Edfu and also titled vizier. She also would have been born of Iput I. 
- Seshseshet, with the name of Sheshit, king’s eldest daughter of his body and wife of the overseer of the great court Neferseshemptah, and is depicted in her husband’s mastaba. As she is an eldest daughter of the king, she cannot be born of the same mother as Waatkhetethor and therefore may have been a daughter of Queen Khuit. 
- Seshseshet also called Sheshti, "king’s daughter of his body", married to the keeper of the head ornaments Shepsipuptah, and depicted in her husband’s mastaba. 
- Seshseshet with the beautiful name of Merout, entitled "king’s eldest daughter" but without the addition "of his body" and therefore born of a third, maybe a minor queen, and married to Ptahemhat. 
- Seshseshet, wife of Remni, "sole companion" and overseer of the department of the palace guards 
- Seshseshet, married to Pepyankh Senior of Meir 
- The so-called "Queen of the West Pyramid" in King Pepy I cemetery. She is called "king’s eldest daughter of his body" and king's wife of Meryre (the name of Pepy I). Therefore, she is a wife of Pepi and most certainly his half-sister.  As she is also an eldest daughter of the king, her mother must be a fourth queen of Teti.
Another possible daughter is princess Inti. 
During Teti's reign, high officials were beginning to build funerary monuments that rivaled that of the pharaoh. His vizier, Mereruka, built a mastaba tomb at Saqqara which consisted of 33 richly carved rooms, the biggest known tomb for an Egyptian nobleman.  This is considered to be a sign that Egypt's wealth was being transferred from the central court to the officials, a slow process that culminated in the end to the Old Kingdom. [ citation needed ]
The Egyptian priest and chronicler Manetho states that Teti was murdered by his palace bodyguards in a harem plot, and he appears to have been briefly succeeded by a shortlived usurper, Userkare. Teti was buried in the royal necropolis at Saqqara. His pyramid complex is associated with the mastabas of officials from his reign. Teti's highest date is his Year after the 6th Count 3rd Month of Summer day lost (Year 12 if the count was biannual) from Hatnub Graffito No.1.  This information is confirmed by the South Saqqara Stone Annal document from Pepi II's reign which gives him a reign of around 12 years.
Teti's mother was the Queen Sesheshet, who was instrumental in her son's accession to the throne and a reconciling of two warring factions of the royal family.  Sesheshet lived between 2323 BC to 2291 BC. Egypt's chief archaeologist Zahi Hawass, secretary general of the Supreme Council of Antiquities, announced, on November 11, 2008, that she was entombed in a 4,300-year-old 5-metre (16-foot) tall pyramid at Saqqara. This is the 118th pyramid discovered thus far in Egypt, the largest portion of its 2-metre wide casing was built with a superstructure 5 metres high. It originally reached 14 metres, with sides 22 metres long.  
Once 5 stories tall, it lay beneath 7 meters (23 feet) of sand, a small shrine and mud-brick walls from later periods. The third known "subsidiary" pyramid to Teti's tomb was originally 46 feet (14 meters) tall and 72 feet (22 meters) square at its base, due to its walls having stood at a 51-degree angle. Buried next to the Saqqara Step Pyramid, its base lies 65 feet underground and is believed to have been 50 feet tall when it was built. 
Limestone wall block fragment showing the cartouche of king Teti and funerary pyramid texts. The Petrie Museum of Egyptian Archaeology, London
The ancient Egyptians credited the goddess Bat with the invention of music. The cult of Bat was eventually syncretised into that of Hathor because both were depicted as cows. Hathor's music was believed to have been used by Osiris as part of his effort to civilise the world. The lion-goddess Bastet was also considered a goddess of music in ancient Egypt.
Neolithic period Edit
In prehistoric Egypt, music and chanting were commonly used in magic and rituals. Rhythms during this time were unvaried and music served to create rhythm. Small shells were used as whistles.  ( pp26–30 )
Predynastic period Edit
During the predynastic period of Egyptian history, funerary chants continued to play an important role in Egyptian religion and were accompanied by clappers or a flute. Despite the lack of physical evidence in some cases, Egyptologists theorise that the development of certain instruments known of the Old Kingdom period, such as the end-blown flute, took place during this time.  ( pp33–34 )
Old Kingdom Edit
The evidence for instruments played is more securely attested in the Old Kingdom when harps, flutes and double clarinets were played. [ citation needed ] Percussion instruments and lutes were added to orchestras by the Middle Kingdom. Cymbals frequently accompanied music and dance, much as they still do in Egypt today.
Medieval music Edit
Early Middle Eastern music was influenced by Byzantine and Roman forms, which were themselves heavily influenced by earlier Greek, Semitic, and Ancient Egyptian music.
Egyptians in Medieval Cairo believed that music exercised "too powerful an effect upon the passions, and leading men into gaiety, dissipation and vice." However, Egyptians generally were very fond of music. Though, according to E.W. Lane, no "man of sense" would ever become a musician, music was a key part of society. Tradesmen of every occupation used music during work and schools taught the Quran by chanting.  ( p359 )
The music of Medieval Egypt was derived from Ancient Egyptian and Byzantine traditions. Lane said that "the most remarkable peculiarity of the Arabic system of music is the division of tones into thirds," although today Western musicologists prefer to say that Arabic music's tones are divided into quarters. The songs of this period were similar in sound and simple, within a small range of tones. Egyptian song, though simple in form, is embellished by the singer. Distinct enunciation and a quavering voice are also characteristics of Egyptian singing.  ( pp360–361 )
Male professional musicians during this period were called Alateeyeh (plural), or Alatee (singular), which means "a player upon an instrument". However, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. However, musicians found work singing or playing at parties to entertain the company. They generally made three shillings a night, but earned more by the guests' givings.
Female professional musicians were called Awalim (pl) or Al’meh, which means a learned female. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, but in an elevated room that was concealed by a screen so as not to be seen by either the harem or the master of the house. The female Awalim were more highly paid than male performers and more highly regarded than the Alateeyeh as well. Lane relates an instance of a female performer who so enraptured her audience that she earned up to fifty guineas for one night's performance from the guests and host, themselves not considered wealthy.
Modern Egyptian classical and pop music Edit
In the second half of the 19th century, the Hasaballah genre of popular improvisational brass band folk music emerged, initiated by clarinettist Mohammad Hasaballah and his band, also called Hasaballah, playing in Cairo's music and entertainment quarter on Mohammed Ali Street. The typical line-up of trumpet, trombone, bass and snare drums, was popular, such as at family events, for well over a century, and is still played.  
Egyptian music began to be recorded in the 1910s when Egypt was still part of the Ottoman Empire. The cosmopolitan Ottoman rulers encouraged the development of the arts, encouraging women and locals to develop their musical abilities. By the fall of the Empire, Egypt's classical musical tradition was already thriving, centered on the city of Cairo. In general, modern Egyptian music blends its rich indigenous traditions, with some western elements that helped create Egypt's pop music.
Since the end of World War I, some of the Middle East's biggest musical stars have been Egyptian. Contemporary Egyptian music traces its beginnings to the creative work of Abdu el-Hamuli, Almaz, and Mahmud Osman, as well as the later work of the 20th century's most important Egyptian composers and singers: Sayed Darwish, Umm Kulthum, Mohammed Abdel Wahab, Abdel Halim Hafez, and Zakariya Ahmed. Most of these stars, including Umm Kulthum and Nagat El-Saghira, were part of the traditional Egyptian music. Some, like Abd el-Halim Hafez, were associated with the Egyptian nationalist movement from 1952 onward. [ citation needed ]
Cairo-born Fatma Said was the first Egyptian soprano to sing at the Teatro alla Scala, Milan,  and from 2016-2018 took part in BBC Radio 3 New Generation Artists scheme. 
Western classical music was introduced to Egypt, and, in the middle of the 18th century, instruments such as the piano and violin were gradually adopted by Egyptians. Opera also became increasingly popular during the 18th century, and Giuseppe Verdi's Egyptian-themed Aida was premiered in Cairo on December 24, 1871.
By the early 20th century, the first generation of Egyptian composers, including Yusef Greiss, Abu Bakr Khairat, and Hasan Rashid, began writing for Western instruments. The second generation of Egyptian composers included notable artists such as Gamal Abdelrahim. Representative composers of the third generation are Ahmed El-Saedi and Rageh Daoud. In the early 21st century, even fourth generation composers such as Mohamed Abdelwahab Abdelfattah (of the Cairo Conservatory) have gained international attention.
Religious music remains an essential part of traditional Sufi Muslim and Coptic Christian celebrations called mulids. Mulids are held in Egypt to celebrate the saint of a particular church or an exalted local Muslim figure. Muslim mulids are related to the Sufi zikr ritual. The Egyptian flute, called the ney, is commonly played at mulids. The liturgical music of the Alexandrian Rite also constitutes an important element of Egyptian music and is said to have preserved many features of ancient Egyptian music.
Egyptian folk music, including the traditional Sufi dhikr rituals in Egypt, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms, and instruments.  
The 20th century has seen Cairo become associated with a roots revival. Musicians from across Egypt are keeping folk traditions alive, such as those of rural Egyptians (fellahin), the Saii'da, and to a lesser extent minorities like the Siwa people, the Egyptian Gypsies, the Sinawis and the Nubians. Mixtures of folk and pop have also risen from the Cairo hit factory.
Since the Nasser era, Egyptian pop music has become increasingly important in Egyptian culture, particularly among the large youth population of Egypt. Egyptian folk music continues to be played during weddings and other traditional festivities. In the last quarter of the 20th century, Egyptian music was a way to communicate social and class issues. Among some of the most popular Egyptian pop singers today are Mohamed Mounir and Amr Diab.
Sawahli (coastal) music is a type of popular Egyptian music from the country's northern coast, and is based around ancient Egyptian instrumentals, mainly the simsimiyya, which is an indigenous Egyptian stringed instrument that has its roots in ancient Egypt, it---the simsimiyya---was probably introduced to the country's northern coast from the Nile valley in the 19th century by Egyptian workers in the Suez Canal. Well known Egyptian bands that feature the simsimiyya as a main instrument include el-Tanboura, which uses other ancient Egyptian instruments.
Saidi (Upper Egyptian) Edit
Egyptian musicians from Upper Egypt play a form of folk music called Ṣa‘īdi which originates from Upper Egypt. Metqal Qenawi's Les Musiciens du Nil (Musicians of the Nile who became known to Alain Weber in 1975), are the most popular Sa‘īdi group, and were chosen by the government to represent Egyptian folk music abroad. They spent over three decades touring Europe performing at various festivals and musical events and in 1983 after their performance in the World of Music and Dance Festival, they were signed to Peter Gabriel's label Real World-Carolina and went on to feature on his Album Passion. Other performers include Shoukoukou, Ahmad Ismail, Omar Gharzawi, Sohar Magdy and Ahmed Megahid.
In Egypt, Nubians are native to southern part of Aswan, though some live in Cairo, Alexandria and other cities. Nubian folk music can still be heard, but migration and intercultural contact with Egyptian and other musical genres have produced new innovations. Ali Hassan Kuban's efforts had made him a regular on the world music scene, while Mohamed Mounir's social criticism and sophisticated pop have made him a star among Nubians, Egyptians, and other people worldwide. Ahmed Mounib, Mohamed Mounir's mentor, was by far the most notable Nubian singer to hit the Egyptian music scene, singing in both Egyptian Arabic as well as in his native Nobiin. Hamza El Din was another popular Nubian Egyptian artist, well known on the world music scene and has collaborated with the Kronos Quartet.
Many of the modern day instruments, both in the East and the West, trace their roots back to ancient Egypt, and many ancient Egyptian instruments are still used in Egypt today, such as the darbuka, the simsimiyya, the Egyptian ney, among other instruments.
During the Abbasid and Ottoman dynasty Egypt was one of the main musical hubs in the middle east and therefore after the fall of the Ottoman Empire in 1923 Egypt became the capital of music in the Arabic-speaking world where classical instruments such as the oud, qanun, and ney were widely used. The typical takht (ensemble) consisted of an Oud player, qanun player, ney player and violin player. The takht (literally meaning a sofa) was the most common form of ensembles in the early 20th century before the adoption of more orchestral instruments which were introduced by composers such as Mohamed El Qasabgi, Riad El Sunbati and Mohammed Abdel Wahab.
One of the most respected early electronic music composers, Halim El-Dabh, is an Egyptian. He is considered the father of electronic music. In 1944 he composed the earliest known work of tape music, or musique concrète, called The Expression of Zar, which he composed in Egypt, while still a student in Cairo, by capturing sounds from the streets of Egypt on a wire recorder.
The Egyptian electronic music scene has gained a mainstream foothold in the forms of techno, trance, and dance pop DJs such as Aly & Fila. In the 2010s, Mahraganat music, an Egyptian form of electronic music which often contains political lyrics, gained popularity both inside and outside Egypt. 
In the 20th and early 21st centuries, interest in the music of the pharaonic/ancient Egyptian period began to grow, inspired by the research of such foreign-born musicologists as Hans Hickmann, who lived and worked in Egypt. By the early 21st century, Egyptian musicians and musicologists led by the Egyptian musicology professor Khairy el-Malt at Helwan University in Cairo had begun to reconstruct musical instruments of ancient Egypt, a project that is ongoing. 
See-This is why the Anunnaki came to earth
Some scientists totally disagree with Zecharia Sitchin and assert that the theories are based on a misinterpretation of the ancient Sumerian texts.
Anunnaki would only have been a science fiction film if it were not because it was supposedly based on real events in the history of mankind. According to many researchers, this film could have impacted on the planet’s population by propagating a monotheism in the West to a new belief, which would ruin Darwin’s theory of evolution, could also have had a significant impact on our understanding of us And the place we occupy in the immensity of the Universe. These are some of the reasons why it is believed that the project of the film Anunnaki was abruptly closed.
Sistrum Timeline - History
Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period--after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth).
All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum--a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes--plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music.
Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with the royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals.
The ancient Egyptians did not notate their music before the Graeco-Roman period, so attempts to reconstruct pharaonic music remain speculative. Representational evidence can give a general idea of the sound of Egyptian music. Ritual temple music was largely a matter of the rattling of the sistrum, accompanied by voice, sometimes with harp and/or percussion. Party/festival scenes show ensembles of instruments (lyres, lutes, double and single reed flutes, clappers, drums) and the presence (or absence) of singers in a variety of situations.
The three images are from: Adolf Erman's Life in Ancient Egypt Published by Macmillan and Co., London 1894
The Historical Finding Of The Hidden Anunnaki City
It is believed by the researchers that the ancient Anunnaki city was built between 160,000 and 200,000 BC as a part of an even larger community of approximately 10,000 Square kilometers.
The site is quite remote, however, no one has ever known who made these structures and when?
The investigator Michael Tellinger teamed up with the local firefighter and pilot Johan Heine to explore the site and upon analyzing the basic structure of the site, he came to the conclusion that the importance of this site has been evidently underestimated.
“When Johan first introduced me to the ancient stone ruins of southern Africa, he had no idea of the incredible discoveries we would make in the following years. The photographs, artifacts, and evidence we accumulated, point towards a lost civilization that has never before been and precedes all others – not for a few hundred years, or a few thousand years … but many thousands of years.”Michael Tellinger
It is believed by Michael that this discovery could challenge the mainstream history we study in our textbooks.
Interestingly, the ancient city is surrounded by several gold mines.
It has been suggested by the researchers that a vanished civilization from the distant past, could have lived and proposed in that part of the world while mining gold.
This and other shreds point to the Ancient Anunnaki:
The main city of prehistoric Upper Egypt was Nekhen, Δ] whose patron deity was the vulture goddess Nekhbet. Ε]
By about 6400 , Neolithic Egyptian societies along the Nile had based their culture on the raising of crops and the domestication of animals. Ζ] Shortly after 6400 , Egyptian society began to grow and increase in complexity. Η] A new and distinctive pottery, which was related to the Levantine ceramics, appeared during this time. Extensive use of copper became common during this time. Η] The Mesopotamian process of sun-drying adobe and architectural principles—including the use of the arch and recessed walls for decorative effect—became popular during this time. Η]
Concurrent with these cultural advances, a process of unification of the societies and towns of the upper Nile River, or Upper Egypt, occurred. At the same time the societies of the Nile Delta, or Lower Egypt also underwent a unification process. Η] Warfare between Upper and Lower Egypt occurred often. Η] During his reign in Upper Egypt, King Narmer defeated his enemies on the Delta and merged both the Kingdom of Upper and Lower Egypt under his single rule. ⎖]