
No title available
Keni
Claire Keane
RMH

祝日 / Permanent Vacation
Sade Olutola

#extradirty
will byers stan first human second
No title available
Three Goblin Art

pixel skylines
Cosmic Funnies
sheepfilms
dirt enthusiast
Lint Roller? I Barely Know Her
NASA
Alisa U Zemlji Chuda
Game of Thrones Daily
Mike Driver
YOU ARE THE REASON

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@deltoidsofcompassion
PLAGUE! PLAGUE! PLAGUE! PLAGUE!
OOPS gotta reblog this one to bring it to the GHOST FANDOM.
A message of hope in times of darkness by John Green
everything is truly so terrible but i just remembered doreen ketchens playing clarinet for her infant grandson and then i was kind of okay again for 36 seconds
(glancing around in mild bemusement)
Seriously, people. Where do you think we even got the word "sponsor" from?
In its original usage it meant a guarantor: someone who promised you that you were going to get something out of what they were doing.
Throwing a ludus / game or a series of games was expensive. Local (or national) Roman politicians put down good money to pay for the rental of the event space (you think the Colosseum was cheap to rent? Think again. The Imperials who built it liked to make their money back...), the wages (and overtime!) of the hundreds of venue support staff, the fees required by the fighting talent and the schools that owned them (or their own management, if they were free), and so forth.
Whoever was footing the bill for a given Game (or sequence of Games) was formally known by the title sponsor, and got to parade around the arena at the beginning of the game to remind people in the stands just who was fulfilling their civic duty by throwing this entertainment for them. The message was, "I'm doing something for you. Next election, don't forget to do something for me!"
And it was always political. Never lose sight of that. (Especially when a local political party promises to build you a nice new stadium if you elect them. The more some things change, the more they stay the same...)
(cc: @petermorwood) 😏
The individual gladiators and charioteers also had sponsorship, in the modern product-placement sense.
Ads were written on blank gable-ends often painted white for the purpose...
...and while the ones in that pic are political slogans, this one is an ad for the wines available at that shop...
...including prices ranging from two to four Asses.
The As was a Roman coin, so you lot at the back can stop giggling.
Other ads were outright endorsements (with appropriate payment, of course) and included stuff like "Felix the Thracian, five-time winner at the Saturnalia Games, says 'Tiburnian Olive Oil Keeps My Sword-Hand Swift!' "
Or "Diocles, Top Driver for the Green Team, uses Scaurus-brand garum at every meal!"
Ridley Scott was told about this during the making of "Gladiator", but ignored it as "unrealistic" - then went on to double the size of the Colosseum "for artistic reasons".
Considering how he's treated historical accuracy in later films, my response to his dismissal of graffiti and ads is this:
I made up Tiburnian olive oil, so it's (probably) fictional, but Scaurus-brand garum was real, and famous enough to appear by name in Pompeii mosaics.
Evidently the name carried weight, just like "Lea & Perrins Worcestershire Sauce".
There are other Worcester sauces, but L & P is THE Worcester sauce - or so they would like you to think - and used to be advertised as "not genuine without this signature".
Whether this was suggesting that all non- L & P Worcester sauces were in some way fake, or because there was a rash of Worcester-style sauces packaged to resemble L & P as closely as possible, I don't know,
However, as regards overly similar packaging (deceptive rather than outright deceitful, relying on accident or inattention more than fakery) take a look at this row of Ancient to Modern L & P...
...compared to another sauce called Henderson's Relish, and note that one label, AFAIK for US sale, refers to it as Worcestershire Sauce.
It's from a different county - Yorkshire not Worcestershire - and is made to a recipe so different it can be marketed as vegan, which real Worcester isn't because of anchovies, so it most emphatically isn't any kind of Worcester sauce at all.
And yet there's that bottle shape, also the label design and colour, so I wonder if, way back when, it was someone's deliberate choice.
The other sauce from Yorkshire is "Yorkshire Relish", made both in the usual thin style and also a thick version like HP Sauce (aka Brown Sauce or Steak Sauce).
Although the label isn't orange, both versions have easy-identification bottle shapes (long-neck cylindrical for thin, short-neck square for thick) characteristic for their contents.
It was apparently like that 2000 years ago, because archaeological finds...
...suggest that the one-handled, high-necked "footed" amphora shown on those mosaics was THE standard shape for garum-jars, thus an instantly recognisable form of product packaging.
Zoom in on each photo, and you'll see writing on the jars. Whether either or both read "Scauri" I can't tell, but if they're from Pompeii I'd make a small wager (maybe even, ahem, bet my As) that Aulus Umbricis Scaurus did indeed put his name - "not genuine without this signature" - on any jars which left his factory.
This one is ours. The shape isn't exact (too short) but pretty familiar...
...but though @dduane and I have racked our brains for what was originally in it (not garum!) we've come up blank. Currently it's full of lemon-infused olive oil, but if we ever buy some modern garum, we'll have somewhere obvious to put it. :->
*****
That short-lived but excellent series "Rome" got it just right. This ad for free wine and cakes is both commercial and political, so covers all bases - and ends with a hint that he gets to read that bloody Guild of Millers bloody slogan Every Bloody Time... :->
It cannot be overstated how much insight A. Umbricius Scaurus' obsession with branding has given us into Roman advertising.
In Pompeii, where he lived and had his factory, there are literally stones and small mosaics IN THE ROAD with his ads on them. The level of dedication the Condiment King of Pompeii put into his advertising, putting it into permanent and quasi-permanent forms, speaks to how much money and effort in Roman society went into advertising. Makes me wonder just how many wooden signs might have been about that were lost in the eruption.
The Course of Empire is a series of five paintings created by the English-born American painter Thomas Cole between 1833 and 1836, which depicts the growth and fall of an imaginary city. The Course of Empire comprises the following works: The Course of Empire – The Savage State (1); The Arcadian or Pastoral State (2); The Consummation of Empire (3); Destruction (4); and Desolation (5).
“Ask medieval historian Michael McCormick what year was the worst to be alive, and he’s got an answer: “536.” Not 1349, when the Black Death wiped out half of Europe. Not 1918, when the flu killed 50 million to 100 million people, mostly young adults. But 536. In Europe, “It was the beginning of one of the worst periods to be alive, if not the worst year,” says McCormick, a historian and archaeologist who chairs the Harvard University Initiative for the Science of the Human Past. A mysterious fog plunged Europe, the Middle East, and parts of Asia into darkness, day and night—for 18 months. “For the sun gave forth its light without brightness, like the moon, during the whole year,” wrote Byzantine historian Procopius. Temperatures in the summer of 536 fell 1.5°C to 2.5°C, initiating the coldest decade in the past 2300 years. Snow fell that summer in China; crops failed; people starved. The Irish chronicles record “a failure of bread from the years 536–539.” Then, in 541, bubonic plague struck the Roman port of Pelusium, in Egypt. What came to be called the Plague of Justinian spread rapidly, wiping out one-third to one-half of the population of the eastern Roman Empire and hastening its collapse, McCormick says. Historians have long known that the middle of the sixth century was a dark hour in what used to be called the Dark Ages, but the source of the mysterious clouds has long been a puzzle. Now, an ultraprecise analysis of ice from a Swiss glacier by a team led by McCormick and glaciologist Paul Mayewski at the Climate Change Institute of The University of Maine (UM) in Orono has fingered a culprit. At a workshop at Harvard this week, the team reported that a cataclysmic volcanic eruption in Iceland spewed ash across the Northern Hemisphere early in 536. Two other massive eruptions followed, in 540 and 547. The repeated blows, followed by plague, plunged Europe into economic stagnation that lasted until 640, when another signal in the ice—a spike in airborne lead—marks a resurgence of silver mining, as the team reports in Antiquity this week.”
— “Why 536 was the worst year to be alive” from Science magazine (via principleofplenitude)
REMEMBER SKIP-IT FROM THE 90’S
my weapon of choice during school yard fights
DnD campaign but the only weapons are 90′s toys @riskpig
Distance weapon: those sky dancer propeller toys.
I’ll allow it.
I have but two words:
Are those a weapon or piece of armor?
Party walks into the inn to rest and the pub looks like
Perfection.
@anotherspecter
I ride into battle on one of these
Animal Companions
Fresh combat
Monks have to use these
Wizard’s Spell book
Warlock Patrons
Archfey
Fiend
Celestial
Great Old One
The undying
THE B A R D
It got better since I last saw it
This is so weird bc being born in 1997 I saw all these toys… old, dirty, and faded by the sun
it’s so weird to think of them as new and current toys rather than the relics of a bygone age
Currency
Dungeon:
the party embarks upon a laser quest
for those who feel uneasy but don’t remember, that feeling is correct
I got a concussion from a skip-it once.
I saw a wall get shattered with a skip it at a birthday party
I broke a light fixture with one of those sky dancer things, and definitely cracked myself in the ankle with the skip-it more than once.
The only thing more deadly to ankles were razor scooters
🎁GIFts🎁 Florence Pugh as Yelena Belova in Hawkeye
for @feelmyskinonyourskin 💕
Demonstrating the rope dart (繩標; sheng2biao1)
[eng by me]
Hey so that was a great date, yeah, but I don't think it's going to work out. Nono you didn't do anything wrong, and I have indeed had a crush on you since we started high school, it's just... well, I didn't want to bring it up at the time but we kinda got sucked into a portal fantasy midway through. We saved the kingdom over and over, relying on our knowledge of and trust in each other every time, throwing ourselves into the firing line to protect each other and using each others' conviction as a rock. We got married and lived a happy life together until the portal sucked us back mid-battle and you gave up all your memories of our journey in order to save my life right when we ended up back in the coffee shop. Yeah that was when I got a bit weird and went to the bathroom.
Anyway I thought we could push on and make the date work but I have all of these memories of secrets that this you never chose to share, decisions that this you never made, and intimacies that this you never experienced. And it's kind of screwing with the vibe yeah. Also on the date it was really, blatantly clear that you're sixteen whereas I have memories of ruling a fantasy kingdom for thirty years so like... that's a problem all on its own. Anyway this you just feels more like a daughter to me. A daughter with the woman I gave my heart and soul to over and over and received like in return, only to lose her forever on the journey home. On the plus side I can definitely help you with your math homework now.
The Mummy Returns (2001) dir. Stephen Sommers
Make Me Choose
@commanderdameron asked » Padme Amidala or Evelyn O'Connell
Pompeii
Watercolors in situ by Luigi Bazzani -late 19th century, early 20th century
At the time Bazzani was working at Pompeii, the newly excavated remains still retained their original vibrant paint.
I feel like in an Aabria campaign The BBEG is interlocking systems of oppression and the ways they make us all part of the BBEG if we don't actively resist them.
Or as Aabria says, "what is the lie this world believes."
💯
The lie most fantasy worlds believe is that there's a specific and knowable number of people you can punch that will fix a broken system. The truth is, these systems are not aberrations within a fundamentally just world, requiring only a moment of sublime destabilization for things to be good again; they are working as intended and will reemerge like weeds without diligent effort to destroy their roots and replace them with better structures. Likewise, the hero's hubris sits in the belief that destroying a BBEG is the end of their journey.
Look, I love a Big Bad.
I LOVE getting to spit a nasty lil villain monologue.
I love imagination-boxing my friends! But I HATE the idea that these lovely stories, so tied to aspirations of heroism, hope, and fighting the good fight, mostly do not speak to what is actually required to dismantle and replace systems of oppression.
And when well-intended people are moved to act but lack the understanding of both the scope of the problem and the tools they wield to enact change, you get K "fixing" Evan's arm on Fire Island 2. Oop! The theme was there the whooooole time!
In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.
What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)
Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.
The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.
We... need worldbuilding by Seth Dickinson
The Pleiades