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The run/stop signal indicates whether the sequence is playing or not.

The DIN sync standard is so named because it uses 5-pin DIN connectors, the same as used for MIDI. DIN sync itself is not a DIN standard. Note that despite using the same connectors as MIDI, it uses different pins on these connectors (1, 2, and 3 rather than MIDI's 2, 4 and 5), so a cable made specifically for MIDI will not necessarily have the pins required for DIN sync physically connected via wires. In some applications the remaining pins (4 and 5) are used as "tap", "fill in" or "reset and start", but this differs from one device to another.

If a device is a DIN sync sender, the positive slope of start/stop must reset the clock signal, and the clock signal must start with a delay of 9 ms.

A detailed description on how to implement a DIN sync sender with Play, Pause, Continue and Stop functionality was published by E-RM Erfindungsbuero.

The MIDI interface uses the same 5-pin DIN connectors, but is electrically not compatible with DIN sync. The MIDI protocol features a MIDI beat clock. MIDI beat clock also works with 24 ticks per quarter note.

"Analog clock" signals are equivalent to the clock signal at pin 3 of DIN sync interface. The clock rate is usually higher than the DIN sync's rate. Typical values are 48, 96 or 192 pulses per quarter note (examples: Oberheim DMX, DX, DSX; Linndrum 1 and 2).

"Analog trigger" signals transfer a pulse per musical event. For instance a trigger corresponds to a step of an analog sequencer or an arpeggiator, a step in a rhythm pattern. Typical analog triggers run at four pulses per quarter note.

The combination of DIN sync with a different clock system can be achieved either by converting the format and / or the clock rate (see list below) or by using a central unit (so called master clock), which provides multiple clock formats. The approach with a masterclock is usually chosen, especially if a synchronization with absolute time is required, such as synchronisation with a tape recorder or with video footage.

Typical devices which can act as a master clock and provide DIN sync include the Roland SBX-80, Roland SBX-10, Friendchip SRC, E-RM midiclock⁺ and Yamaha MSS1. Many drum machines which have DIN sync and MIDI clock outputs can act as master clock for those two formats.

Though DIN sync and MIDI clock have the same clock rate, they require a conversion of the format within a microprocessor or similar. The conversion from MIDI clock to DIN sync is available in many industrial devices. For the conversion from DIN sync to MIDI clock there is at the moment only the device 'Sync-Split2' of the company Innerclock Systems. Also two no longer produced devices do this type of conversion: Roland SBX10, Korg KMS30. On September 1st 2014, Roland introduced the SBX-1 which provides MIDI to sync24 or sync48 conversion.

To get an analog trigger or clock from the DIN syncs clock signal one has to use digital frequency division or frequency multiplication. There are no dedicated industrial devices which provide a division. The Roland SBX10 can convert into a 48, 96, and 120 PPQN clock.

Some devices have a DIN sync input as well as DIN sync output, other device have only a single DIN socket which sometimes can be switched between input and output.

Note that sync48 devices can be combined with sync24 devices, if 32nd notes are programmed instead of 16th notes.

= = = Scots Confession = = =

The Scots Confession (also called the Scots Confession of 1560) is a Confession of Faith written in 1560 by six leaders of the Protestant Reformation in Scotland. The was the first subordinate standard for the Protestant church in Scotland. Along with the Book of Discipline and the Book of Common Order, this is considered to be a formational document for the Church of Scotland during the time.

In August 1560 the Parliament of Scotland agreed to reform the religion of the country. To enable them to decide what the Reformed Faith was to be, they set John Knox as the superintendent over John Winram, John Spottiswoode, John Willock, John Douglas, and John Row, to prepare a Confession of Faith. This they did in four days. The 25 Chapters of the Confession spell out a contemporary statement of the Christian faith as understood by the followers of John Calvin during his lifetime. Although the Confession and its accompanying documents were the product of the joint effort of the Six Johns, its authorship is customarily attributed to John Knox.

While the Parliament approved the Confession on 27 August 1560, acting outside the terms of the Treaty of Edinburgh to do so, Mary, Queen of Scots, a Roman Catholic, refused to agree, and the Confession was not approved by the monarch until 1567, after Mary's overthrow. It remained the Confession of the Church of Scotland until it was superseded by the Westminster Confession of Faith on 27 August 1647. However, the confession itself begins by stating that the Parliament "ratifeit and apprevit [the confession] as wholesome and sound doctrine grounded upon the infallible truth of God's word"; thus, though changes within societies may have diminished its relevance, believers hold that the authority of its statements is rooted not in parliamentary approval but in, as it says, "the infallible truth of God's word". In 1967, it was included in the United Presbyterian Church in the U.S.A.'s "Book of Confessions "alongside various other confessional standards, and remains in the current Presbyterian Church (U.S.A.)'s "Book of Confessions".

As the Confession of Faith Ratification Act 1560, the Confession remains part of Scots law.

= = = Gilbert Ashwell = = =

Gilbert Ashwell (July 16, 1916 – June 27, 2014) was a biochemist at the National Institutes of Health in the United States. He is a member of the National Academy of Science for his work with Anatol Morell in isolating the first cell receptor.

Ashwell was born in Jersey City, New Jersey in 1916. After high school, he went to college to further his education. He attended the University of Illinois, where he earned his B.A.in 1938 and M.S. in 1941. He then went to Columbia University in New York, which was closer to his hometown, to spend two years doing research. In 1950, Ashwell joined the National Institute of Arthirtis, Metabolism, and Digestive Diseases. This Institute had grown and later split into two institutes, which are the National Institute of Arthritis and Musculoskeletal and Skin Diseases and the National Institute of Diabetes and Digestive and Kidney Diseases. Ashwell worked at the latter as an emeritus scientist after his retirement.

Ashwell’s goal as a researcher was to devise a labeling serum glycoproteins in order to study the role of ceruloplasmin in Wilson disease. With another researcher named Anatol G. Morell, he worked to propose that membrane lectins remove senescent circulating glycoproteins, and discovered one of the earliest known carbohydrate receptors. They were able to devise a labeling procedure which allowed them to remove enzymes of the glycoproteins' sialic acid residue. By completing this process, they were able to incorporate other substances into the protein. In 1974, Ashwell and Morell happened to discover that a certain receptor in a human’s liver is able to recognize a specific glycoprotein called asialoglycoprotein. Ashwell explained that he was not specifically looking for the asialoglycoprotein when he found it.

Ashwell died on June 27, 2014 from pneumonia in a Washington, D.C. area hospital. He was 97.

= = = Gogaji = = =

Gogaji (also known as Goga, Jahar Veer Gogga, Gugga, Gugga Pir, Gugga Jaharpir, Gugga Chohan, Gugga Rana, Gugga Bir and Raja Mandlik) is a folk deity, worshipped in the northern states of India especially in Rajasthan, Himachal Pradesh, Haryana, Uttarakhand, Punjab region, Uttar Pradesh, Jammu and Gujarat. He is a warrior-hero of the region, venerated as a saint and a 'snake-god'.

Although there are references to him in the folklore of Rajasthan, little historical knowledge of Gugga exists other than that he ruled the small kingdom of Dadrewa (in present day Rajasthan) and was a contemporary of Prithviraj Chauhan.

According to legend, Goga was born with the blessings of Guru Gorakhnath, who gave 'Gugal' fruit to Goga's mother Bachhal which was used to name him. Another belief is that he was called Goga because of his remarkable service to cows(Gou in Sanskrit).

Goga had a kingdom called Bagad Dedga near Ganganagar that spanned over to Hansi near Hisar in Haryana and included territory up to the river Sutlej in Punjab. It is believed that Goga lived during the 12th Century AD In the past, the river Sutlej flowed through the district of Bathinda in present-day Punjab in India. The capital was at Dadrewa near Ganganagar.

Goga () (Rajasthani: (Gugo) गुग्गो) was born in c. 900 AD to queen Bachchal (the daughter of a Rajput ruler, Kanwarpala who in 1173 AD ruled over Sirsa in present-day Haryana) and king Zewar in Dadrewa of the Chauhan Clan in the Churu district of Rajasthan. The earliest parts of Goga's life were spent in the village of Dadrewa, situated on Hissar—Bikaner highway in Sadulpur tehsil of Churu district in Rajasthan. According to other legends, his father was Vachha Chauhan, the Raja of Jangal Desh, which stretched from the Sutlej to Haryana.

When Bachal was worshipping Gorakhnath, her twin-sister decided to usurp the blessings from the Gorakhnath. In the middle of the night, she wore her sister's clothes and deceived Gorakhnath into giving her the blessing fruit. When Bachal came to know about it, she rushed to Gorakhnath and said that she had not received anything. To this, Gorakhnath replied that he had already given his blessings and said that her sister was attempting to deceive her. After repeated requests by Bachal, Gorakhnath relented and gave her two Gugal candies. She distributed these candies to ladies having no child, including the 'blue mare' who was pregnant at that time. When the Guru gave the blessing to Bachal, he foretold that her son would become very powerful and would rule over the other two sons of their aunt, Kachal.

Goga was married to Shreeyal Roz who was daughter of Tandul Nagari's King Sindha Singh.

Another story is that Arjan and Sarjan were against Goga and was a part of conspiracy with king Anangpal Tomar of Delhi. King Anganpal attacked bagad region with Arjan and Sarjan. Both of them were killed by Goga. Goga spared the king after his miserere. In a quarrel about land he killed his two brothers on which account he drew upon himself the anger of his mother.

The cult of Goga falls within folk religion and therefore his followers include people from all faiths. Goga is popular as a Devta who protects his followers from snakes and other evils. He has been deified as a snake demigod and is a prominent figure among those who follow the Nāga cult in what is now Rajasthan and since the seventeenth century has been worshipped in the Western Himalayas also, possibly as a consequence of migration there from Rajasthan.

He is particularly popular among those engaged in agrarian pursuits, for whom the fear of snakebite is common. Although a Hindu, he has many Muslim devotees and is chiefly considered to be a saint ("pir") who had the power to cure the effects of poison ("jahar").

He was reputed to be a disciple of Guru Gorakhnath. According to Muslim oral tradition prevalent in Punjab, he learnt the way of entering and leaving solid earth by a Muslim Pir Hazi Rattan of Bathinda. Goga is also believed to have lived for some time in Bathinda.

The cult is prevalent in Rajasthan and other states of northern India, including Punjab, Haryana, Himachal Pradesh and the north western districts of Uttar Pradesh. His followers can also be found in Gujarat and Madhya Pradesh.

His shrine, referred as medi (shortened colloquial term for Samādhi), consists of a one-room building with a minaret on each corner and a Hindu grave inside, marked by a Nishan (a symbol or sign), which is made up of a long bamboo with peacock plumes, a coconut, some colored threads and some handpankhas with a blue flag on the top.

Worship of Goga starts in Bhaadra month of Hindu calendar. On the 9th of Bhadra, the people worship his symbol, a black snake painted on a wall. Worshippers take a fly-flap, known as chhari, round the village. Devotees pay their respect to it and offer churma. The Savayians sing devotional songs known as ‘Pir ke Solle’ in his honour to the accompaniment of deroos. Beating of deroos is the exclusive privilege of the Savayian community; others may sing, dance or offer charhawa. It is believed that the spirit of Gugga temporarily takes abode in the devotee dancer who lashes himself with a bunch of iron chains. People also open their rakhis on this day(bhadra krishna paksh navmi) and offer them to him. They also offer sweet puri (a type of sweet chappati) and other sweets and take his blessing.

Grand fairs are held at samadhi sathal Gogamedi. Gogamedi is 359 km from Jaipur, in Hanumangarh district of Rajasthan. It is believed that Goga went into samādhi at Gogamedi. Thousands of devotees gather to pay homage at this memorial annually in the month of Bhadrapada during the Goga fair, which lasts for 3 days. The fair is held from the ninth day of the dark half of Bhadrapada (Goga Navami) to the eleventh day of the dark half of the same month. People sing and dance to the beats of drums

with multicoloured flags called "nishans" in their hands. The songs and bhajans on the life history of Gogaji are recited accompanied by music played with traditional instruments like Damru, Chimta, etc. At his birthplace Dadrewa, the fair goes on over a month. Devotees from far eastern places of Dadrewa start arriving from the beginning of the auspicious month of Bhaadra. These devotees are commonly known as purbia (those who belong to east). It is a common sight to see people with snakes lying around their necks. According to a folklore in and around his birthplace Dadrewa it is believed that if someone picks up even a stick from johra (a barren land which has a sacred pond in Dadrewa), it would turn into a snake. Devotees of Gogaji worship him when they get a snake bite and apply sacred ash (bhabhoot) on the bite as an immediate remedy.

In Thaneek Pura, Himachal Pradesh, a very large scale festival and fair is organized on Gugga Navami. The tale of Gugga Ji is recited, from Raksha Bandhan to Gugga Naumi, by the followers who visit every house in the region. These followers while singing the tales of Gugga Ji carry a Chhat (a wooden umbrella) and people offer them grains and other stuff. They bring all the collected offerings to the temple and then the grand festival of Gugga Navami is celebrated for three days. Apart from various pujas and rituals, the wrestling competition (Mall or Dangal) is organized for three days where participants from all over the region compete. The annual three-day fair is also a part of these festivities where people come and enjoy great food, and shop for decorative items, handicrafts, clothes, cosmetics, household goods, and toys for children.

Goga is known as Gugga in the Punjab who has a significant following. Many Punjabi villages have a shrine dedicated to Gugga. A fair is organised annually in the village of Chhapar and is known as the Chhapar Mela. Gugga's legacy in Punjab can be seen in towns such as Bareta Mandi, which is situated at a distance of 51 km from Mansa in Punjab. "The town is predominantly inhabited by Chauhans who trace their origin from Gugga, ‘Lord of Snakes’. It is said that nobody has ever died here on account of snakebite because of the blessings of Gugga."

In the Punjab region, it is traditional to offer sweet Vermicelli to the shrines of Gugga Ji and sweet fried bread (mathya ()). He is worshiped in the month of Bhadon especially on the ninth day of that month. Gugga is meant to protect against snake bites and he is venerated in shrines known as marris. The shrines do not conform to any religion and can range from antholes to structures that resemble a Sikh Gurdwara or a Mosque. When worshipping Gugga, people bring noodles as offerings and also leave them in places where snakes reside. People perform a devotional dance while dancing on the legendary songs of bravery sung in his praise.

On the day of Gugga naumi, when offering the sweet dish, songs are sung which include:

Punjabi:

"ਪੱਲੇ ਮੇਰੇ ਮਥੀਆਂ"<br>

"ਨੀ ਮੈਂ ਗੁੱਗਾ ਮਨਾਓੁਣ ਚੱਲੀਆਂ"<br>

"ਨੀ ਮੈਂ ਬਾਰੀ ਗੁੱਗਾ ਜੀ"<br>

"Palle mere mathyaa"<br>

"ni mein Gugga manaun challyaa"<br>

"ni mein bari Gugga ji"<br>

Translation

"I have got mathya"<br>

"I am going to worship Gugga ji"<br>

"Oh Gugga ji"<br>

= = = Level Plane Records = = =

Level Plane was an American independent record label based in New York City that was founded in early 1997 by Greg Drudy for the release of Saetia's first 7". Drudy ran the label until it ceased to exist in 2009. It released records in a variety of styles including those by many screamo bands.

= = = Khnumhotep and Niankhkhnum = = =

Khnumhotep (pronunciation: xaˈnaːmaw-ˈħatpew) and Niankhkhnum (pronunciation: nij-daˌnax-xaˈnaːmaw) were ancient Egyptian royal servants. They shared the title of Overseer of the Manicurists in the Palace of King Nyuserre Ini, sixth pharaoh of the Fifth Dynasty, reigning during the second half of the 25th century BC. They were buried together at Saqqara and are listed as "royal confidants" in their joint tomb. They are notable for their unusual depiction in Egyptian records, often interpreted as the first recorded same-sex couple, a claim that has met considerable debate.

Khnumhotep and Niankhkhnum are believed by Thomas Dowson, Greg Reeder, and some other scholars to be the first recorded same-sex couple in ancient history. The assumed romantic relationship between Khnumhotep and Niankhkhnum is based on depictions of the two men standing nose to nose and embracing. Niankhkhnum's wife, depicted in a banquet scene, was almost completely erased in antiquity, and in other pictures Khnumhotep occupies the position usually designated for a wife. Their official titles were "Overseers of the Manicurists of the Palace of the King" (see sections Titularies, Banquents and music). Critics argue that both men appear with their respective wives and children, suggesting the men were brothers, rather than lovers.

Khnumhotep and Niankhkhnum are depicted in the tomb with their respective families. It has been proposed that they were the sons of Khabaw-khufu and Rewedzawes. They appear to have had three brothers named Titi, Nefernisut, and Kahersetef. Three possible sisters are also attested. They are named Neferhotep-hewetherew, Mehewet and Ptah-heseten. Niankhkhnum's wife was named Khentikawes. The couple appear in the tomb with three sons named Hem-re, Qed-unas and Khnumhezewef, and three daughters, Hemet-re, Khewiten-re and Nebet. At least one grandson is attested, Irin-akheti, the son of Hem-re and his wife, Tjeset.

Khnumhotep had a wife by the name of Khenut. Khnumhotep and Khenut had at least five sons named Ptahshepses, Ptahneferkhu, Kaizebi, Khnumheswef and Niankhkhnum the younger (possibly named after the tomb owner), as well as a daughter named Rewedzawes.

Egyptian records note Khnumhotep and Niankhkhnum as the heads manicurists for the royal family, but they may have held a number of different official titles and duties

On duty at the sun temple, Niankhkhnum or Khnumhotep may have watched over subordinate officials, such as the "m-r pr Sna" "overseer of the magazines" who in turn supervised crews of porters stocking and withdrawing material from the granaries and store-rooms

Care of the king's body and wardrobe in preparation for his public appearances required a large number of aides, apparently working in different ateliers each under its own leadership. In addition to the manicurists whom Niankhkhnum and Khnumhotep supervised (discussed in the titulary section of this article), the palace had attendants under one or more men holding the title "jrj nfr HAt" "keeper of the headdress," responsible for the king's wigs and headcloths, "jrw Snj" " hairdressers, who kept him shaven, and an "m-r n jzwj Xkrwt nswt" "overseer of the two chambers of king's adorners." The post of "Xkrt nswt" "adorner of the king" was always held by women, who were legally, if not socially, equal to men in Egypt. Neferhotep-Hathor is labeled with this status at the funeral procession of Niankhkhnum and Khnumhotep.

How, or how often, personnel in the hairdressers' shop, which from titulary evidence stands higher than the manicurists in 5th and 6th Dynasty prestige rankings, communicated with the latter remains unknown. No hairdressers are labeled at the funeral procession. Ptahshepses, the keeper of the headdress who became Nyussere's vizier, and Ti, overseer of the pyramids and sun temples, are two officials whom Niankhkhnum and Khnumhotep may have worked with Both Khnumhotep and Niankhkhnum are attested on a harvest scene in the splendid burial estate of Ptahshepses, where they may have been quarry supervisors, yet named as "jr ant pr aA" "palace manicurists," quite junior to titulary in their own tomb, which could mean Ptahshepses died while they were younger. A door jamb, besides "TAtj" "vizier," displays the title "HAt-a" "one whose arm is in front," a pure honorific Allen distinguishes from the "m-r" and "jrj" titles specifying responsibility domains we've encountered up to now. The "jrj nfr HAt" "keeper of the headdress" epithet, recorded in many of the rooms, is spelled with the mouth sign (Gardiner D21), not the eye sign (D4), so that it shares the introductory word of "jrj-pat" "hereditary prince," another of Allen's honorifics.

The tomb of Khnumhotep and Niankhkhnum was discovered by Egyptologist Ahmed Moussa in the necropolis at Saqqara, Egypt in 1964, during the excavation of the causeway for the pyramid of King Unas. It is the only tomb in the necropolis where men are displayed embracing and holding hands. In addition, the men's chosen names (both theophorics to the creator-god Khnum) form a linguistic reference to their closeness: Niankhkhnum means "life belongs to Khnum" and Khnumhotep means "Khnum is satisfied;"

The precise king and regnal date of this tomb are unknown; style places it in the latter 5th Dynasty under Nyuserre or Menkauhor. No human remains were discovered inside. It is believed the tomb was built in stages, first a sequence of two chambers cut into the limestone of a low escarpment in the northern area of Saqqara, then a surface-built mastaba structure added to mate with the earlier construction. This would have occurred as the two intended occupants gained resources.

In a banquet scene, Niankhkhnum and Khnumhotep are entertained by dancers, clappers, musicians and singers; in another, they oversee their funeral preparations. In the most striking portrayal, the two embrace, noses touching, in the most intimate pose allowed by canonical Egyptian art, surrounded by what would appear to be their heirs.

Egyptian tombs feature lists of titles and epithets honoring the deceased or held during life, often giving titles for other persons who appear on a wall. For Niankhkhnum and Khnumhotep, the titulary may be condensed as follows:

Held by either or both men:

The title "Hrj sStA" "keeper of the secrets" is attested for 13 individuals during the Old Kingdom, at least once elaborated to the form "Hr sStA mdw-nTr" "keeper of the secrets of the god's words," meaning the hieroglyphic language used on monuments. In contrast with the hieratic script used for everyday record-keeping, already an elite activity, the content of hieroglyphic texts was closely controlled property of the state and permission from the king was probably required for inscriptions in one's tomb, as we see in a royal authorization for Rawer, an official under Neferirkare buried at Giza, to do so.

"jmAx xr nTr aA" "honored one near the great god" is a euphemism for "dead," appearing frequently in tombs and on slab stelae, even though it, like the word (and goddess) "mAat", evokes a multifarious idealization of relationships between social and cosmological ranks.

Epithets beginning with "jmAx" are common throughout Egyptian history from the 4th Dynasty on, tending toward greater specificity in later periods. An official or family member could possess several, both "jmAx xr nTr aA" "honored before the great god" (when dead) and "jmAx xr nswt" "honored before the king" (presumably in life). It is important to realize that king and god themselves can be one and the same, especially upon death, as Amenemhat I would be in the early Middle Kingdom story of Sinuhe. The goal of kingship, after maintaining social order ("mAat") in Egypt, was to ascend and unite with the sun disk of Heliopolitan theology, maintained from Old Kingdom until the arrival of Christianity.Since "jmAx" can also be translated as "provided for," the connection an official's tomb holds with royal subsidy is made implicit; although officials built their tombs using mainly their own resources once the 4th Dynasty (and Khufu's largess at Giza) ended.

A two-pillared portico makes up the eastern half of the mastaba's façade. The front is inscribed with Niankhkhnum depicted on the left, Khnumhotep on the right. These two reliefs are virtually identical, only the names being different.

This space is fairly small. The west side is decorated with a funerary procession for Niankhkhnum and the east side shows a matching funerary procession for Khnumhotep.

At the entrance scenes of baking bread and brewing beer are depicted. Barley is carefully measured out and turned into bread. Other scenes include goat herding, ship building, harvesting scenes, sailing, netting of birds, etc. The east wall contains a legal text. Below this text several people are depicted thought to be the family of the two men. At the very bottom ships are shown. The men are shown standing before the main cabin of the ship.

An undecorated space which serves to connect the vestibule and chambers on the north end of the mastaba with the abutting rock-cut sections of the tomb to their south. Modern security grates now obstruct much of the full sun that would have flooded this small, walled yard, yet little or no sun fell on the vestibule to the outer rock-cut hall described below, as its entrance faces north.

With names, titles, and standing portraits of the two men, it is much smaller than the other vestibule and without pillars. The lintel's inside surface features another cattle count scene, and each tomb owner appears on one of the side walls with his wife, amid a flow of yet more offerings from the herds.

This outer hall, an antechamber to the final, inner hall, marks the tomb's first, rock-cut phase of construction, and is fully decorated. Before the mastaba was added, it would have been the first room a visitor entered after passing through the forecourt, which was relocated northeast to the far side of the mastaba where it is now. Here, people engage in agricultural occupations including the weighing of corn and grain, the ploughing of fields, and harvesting.

A double doorway to the inner hall is on the west wall, with a broad pillar dividing the doors. Its surface depicts the two men, their children, drawn much smaller to reflect a lesser status, in tow behind each parent. The respective wives do not appear in this scene. Niankhkhnum has three sons and three daughters, Khnumhotep five sons and one daughter, some of whom may be adopted or conceived by a second wife or mistress as they lack the shendyt kilts worn by the others. All the children except Niankhkhnum's youngest son, who still runs naked with his shaved head bearing the single sidelock of youth, are adults despite the scale they are drawn at. Ptahshepses, a son of Khnumhotep, wore the youth sidelock in the marsh scene of the forecourt but not so here. Either inconsistency intrudes, or the art, completed over years, reflects some changes of status which transpire during the tomb's construction.

Now on the reverse side of the dividing pillar, Niankhknum and Khnumhotep embrace again, and a third time on the opposite wall of this small chamber. They are without their children in this innermost sanctuary. Each man has a "false door," a carved, slot-like niche surrounded by inscriptions which was produced in the royal workshops and installed in the tomb. Niankhknum's is seriously damaged. The false door provided an accessway for the deceased, as a spiritual being, to reach offerings left at the tomb by the living. These offerings were to be set on plinths in front of the false doors. Behind the false doors is a small statue closet known as the serdab. A statue of each man would have been placed here, facing the chamber as if to watch visitors come and go, but invisible to the offering-bringers since the false doors are actually solid. It appears that tomb robbers removed the statues in antiquity; they are no longer extant.

The banquet scene (first image) shows Niankhkhnum clean-shaven (left) and Khnumhotep (wearing a short beard) seated facing one another across comestibles spread between, each with his own breadboard table. Set off by a baseline, this is read separately from the two registers of entertainment below them. A different upper register substitutes in the contemporary Saqqara tomb of Ti (next image), where no food is present with the owner, who is seated holding a scepter, his wife (drawn at half-scale) by his feet.

Longevity and circumstances of the tomb owners' deaths are unknown. The limestone sarcophagi beneath the mastaba were ransacked and wooden coffins of later date interred in the burial chambers. Booth, citing others, adheres to the theory that Khnumhotep died first, leaving Niankhkhnum to complete the tomb's art. This conclusion was drawn from Khnumhotep's "jmAx" epithets (see Titulary section), a style of beard he wears, and exclusion of his wife at the banquet scene when Niankhknum's was originally there.

Four of the rows show people walking in single file. Familial relationships stay unclear in Egyptian tombs: Only the pictures of wives ("Hmt.f" "his wife"), daughters ("zAt.f"), and sons ("zA.f") bore genealogical notations. Reeder identifies Niankhkhnum and Khnumhotep themselves at the rear of Khabau-Khufu's line; he and the woman behind him are Niankhkhnum's parents. This woman and Khnumhotep are the only paraders who do not place their left hands upon their hearts, but use them to hold the hand or arm of the person in front of them, suggesting a degree of intimacy between them and the persons they grasp (Khabau-Khufu or Niankhkhnum, respectively). More of the deceased's children plus some of foggier status appear, including Ankhredwi-nesut, police captain Khnumhezuf, palace manicurist Kasetef, and Hemre's wife Tjeset. Sekhem, a scribe of the "pr HD" "white house," is both here and behind Niankhkhnum in the forecourt marsh scene, where he had a namesake on Khnumhotep's side, albeit with additional post of inspector of "Hm-kA" priests marked.

In Reeder's interpretation, absence of Khnumhotep's parents here matching absence of his wife at the banquet, is consistent with Khnumhotep predeceasing his afterlife roommate. Other officials in line and in the next register (where figures are smaller) include supervisors of weavers, manicurists, "Hm-kA" priests, and scribes.

= = = REDCAT = = =

REDCAT (Roy and Edna Disney/CalArts Theater) is an interdisciplinary contemporary arts center for innovative visual, performing and media arts in downtown Los Angeles, located inside the Walt Disney Concert Hall complex. Opened in November 2003 as the initial professional presenting arm of CalArts, REDCAT has since garnered a reputation for groundbreaking theater and a worldwide arts following as a launching platform for up-and-coming local artists, and for introducing internationally acclaimed productions and exhibitions to L.A. audiences that are often premiering on the West Coast for the first time.