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Vikings established homes in lands they conquered during 9th-11th Centuries AD, used a settlement pattern that was based primarily on their own Scandinavian cultural heritage. That pattern, contrary to image of Viking raider, was to live on isolated, regularly spaced farmsteads surrounded by grain fields. The degree to which...

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Archaeo - Histories

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Roman architecture is at centre of Europe’s visual allure. Sophisticated Roman structures have survived hundreds of centuries without renovation... In 103 AD Roman engineer Apollodorus of Damascus built a 1.1km bridge from stone and wood. Trajan’s Bridge was 19m from surface of river, 15m wide and capable of supporting the weight of hundreds of traversing Roman soldiers. It was only a few feet shorter than Sydney harbour bridge. Romans built a lot of West’s longest standing buildings. They were also the first civilisation to make bridges from concrete. Some of these ancient bridges stand now as they did day they were built. This is thanks to the structural innovations that were first used by Romans. And innovations that eventually helped shape contemporary bridge engineering. Alcántara Bridge is such a bridge, standing in Spain since 104 AD. Roman civil engineer Caius Julius Lacer was the man behind the bridge. His tomb stands nearby, with an epitaph that reads “I leave a bridge forever in the centuries of the world”. He wasn’t wrong. There is a rumour doing the rounds on web that Roman engineers in charge of building bridges had to stand beneath them as scaffolding was removed. Apparently, trepidation of tonnes of rock and debris falling and crushing you lead to some pretty tight structural planning. A more likely history is found in Roman Empire’s military expansion. To improve Roman access lines the empire formed guilds of skilled workers and thinkers who shared ideas and building principles. These early engineering guilds made important discoveries in structural design, in the materials and in the piers that supported the legs of the bridges. Romans had improved traditional footbridge by creating a bridge that maintained its structural integrity through the centre. To achieve this the Romans did not rely on steel beams running through the stone members, but instead on the tensile strength of the stones themselves. The shape of the arch allowed the bricks to be inserted at a curved angle until they joined at the peak of the arch with a keystone. This keystone was shaped as a trapezoid that used the weight of the stone and concrete in the bridge to compress the tapered stones together. This pressure formed a structure in the arch that required a tremendous amount of force to rupture. Where traditional bridges were at their weakest in the centre, the arch was at its strongest. Arch was a structural innovation in building design. But it wasn’t only thing Roman Empire contributed to construction. Romans were also unique in the materials they chose to build with. A natural cement called pozzolana was used by Romans as mortar for piers (legs) of their bridges. Not only is this cement said to be ecologically cleaner than today’s cement mixtures, but its also a cement that grows stronger over time. Pozzolana is still used in some countries. It’s made by combining two parts pozzolana (which is a type of slag that forms naturally from volcanic rock) with one part powdered lime. As early as 3rd Century BC, Romans used pozzolana instead of sand in concrete in their construction. This gave their structures supreme strength and stability. As not every bridge built by Romans had luxury of building its piers on land, Romans used cofferdams where the piers would fall within a body of water. Romans used cofferdam as temporary structure that allowed construction of a bridge pier in a space of water. Cofferdams that were used by Romans were simpler than ones used in contemporary construction, but their function is identical. First, Romans would dig a ring of timber logs into river bed. They would then fill gaps between logs with clay for waterproofing, before pumping water from inside circle of logs. Upon newly dry riverbed, Romans would construct pozzolana and stone piers. After construction had been completed ring of logs was removed and piers stood in riverbed like magic. 🎥© simple.history_ (IG) #archaeohistories
1:24

Roman architecture is at centre of Europe’s visual allure. Sophisticated Roman structures have survived hundreds of centuries without renovation... In 103 AD Roman engineer Apollodorus of Damascus built a 1.1km bridge from stone and wood. Trajan’s Bridge was 19m from surface of river, 15m wide and capable of supporting the weight of hundreds of traversing Roman soldiers. It was only a few feet shorter than Sydney harbour bridge. Romans built a lot of West’s longest standing buildings. They were also the first civilisation to make bridges from concrete. Some of these ancient bridges stand now as they did day they were built. This is thanks to the structural innovations that were first used by Romans. And innovations that eventually helped shape contemporary bridge engineering. Alcántara Bridge is such a bridge, standing in Spain since 104 AD. Roman civil engineer Caius Julius Lacer was the man behind the bridge. His tomb stands nearby, with an epitaph that reads “I leave a bridge forever in the centuries of the world”. He wasn’t wrong. There is a rumour doing the rounds on web that Roman engineers in charge of building bridges had to stand beneath them as scaffolding was removed. Apparently, trepidation of tonnes of rock and debris falling and crushing you lead to some pretty tight structural planning. A more likely history is found in Roman Empire’s military expansion. To improve Roman access lines the empire formed guilds of skilled workers and thinkers who shared ideas and building principles. These early engineering guilds made important discoveries in structural design, in the materials and in the piers that supported the legs of the bridges. Romans had improved traditional footbridge by creating a bridge that maintained its structural integrity through the centre. To achieve this the Romans did not rely on steel beams running through the stone members, but instead on the tensile strength of the stones themselves. The shape of the arch allowed the bricks to be inserted at a curved angle until they joined at the peak of the arch with a keystone. This keystone was shaped as a trapezoid that used the weight of the stone and concrete in the bridge to compress the tapered stones together. This pressure formed a structure in the arch that required a tremendous amount of force to rupture. Where traditional bridges were at their weakest in the centre, the arch was at its strongest. Arch was a structural innovation in building design. But it wasn’t only thing Roman Empire contributed to construction. Romans were also unique in the materials they chose to build with. A natural cement called pozzolana was used by Romans as mortar for piers (legs) of their bridges. Not only is this cement said to be ecologically cleaner than today’s cement mixtures, but its also a cement that grows stronger over time. Pozzolana is still used in some countries. It’s made by combining two parts pozzolana (which is a type of slag that forms naturally from volcanic rock) with one part powdered lime. As early as 3rd Century BC, Romans used pozzolana instead of sand in concrete in their construction. This gave their structures supreme strength and stability. As not every bridge built by Romans had luxury of building its piers on land, Romans used cofferdams where the piers would fall within a body of water. Romans used cofferdam as temporary structure that allowed construction of a bridge pier in a space of water. Cofferdams that were used by Romans were simpler than ones used in contemporary construction, but their function is identical. First, Romans would dig a ring of timber logs into river bed. They would then fill gaps between logs with clay for waterproofing, before pumping water from inside circle of logs. Upon newly dry riverbed, Romans would construct pozzolana and stone piers. After construction had been completed ring of logs was removed and piers stood in riverbed like magic. 🎥© simple.history_ (IG) #archaeohistories

Archaeo - Histories

52,307 Aufrufe • vor 1 Jahr

Initially, Roman Polanski wanted to shoot "The Fearless Vampire Ki||ers" (1967) on location in and around a castle in Switzerland which he saw during a vacation. But as this was impossible, other locations in the Alps were found, along with studio shoots in England. A location for the Count’s castle had been selected in the Italian Alps, a place where there would for certain be plenty of the snow which was so vital for the story. In the event, by a completely unexpected freak of nature, when the crew arrived, all the snow had melted. As a result they had to return to England, procure tons and tons of salt for the snow, and build an entire castle on the MGM lot at Boreham Wood. The movie was filmed in 4 different studios. As a result, the original schedule had to be extended from 3 to 7 months. While on location, Polanski employed dozens of local artisans to make the large numbers of coffins needed in the film. Unfortunately tourists were rather unnerved by the sight of these, and hotels had to erect signs to assure their guests that the area hadn't been struck by plague. ("The Cinema of Roman Polanski", Ivan Butler, 1970 & IMDb)
0:58

Initially, Roman Polanski wanted to shoot "The Fearless Vampire Ki||ers" (1967) on location in and around a castle in Switzerland which he saw during a vacation. But as this was impossible, other locations in the Alps were found, along with studio shoots in England. A location for the Count’s castle had been selected in the Italian Alps, a place where there would for certain be plenty of the snow which was so vital for the story. In the event, by a completely unexpected freak of nature, when the crew arrived, all the snow had melted. As a result they had to return to England, procure tons and tons of salt for the snow, and build an entire castle on the MGM lot at Boreham Wood. The movie was filmed in 4 different studios. As a result, the original schedule had to be extended from 3 to 7 months. While on location, Polanski employed dozens of local artisans to make the large numbers of coffins needed in the film. Unfortunately tourists were rather unnerved by the sight of these, and hotels had to erect signs to assure their guests that the area hadn't been struck by plague. ("The Cinema of Roman Polanski", Ivan Butler, 1970 & IMDb)

DepressedBergman

38,962 Aufrufe • vor 4 Tagen

WW2 PSYCHOLOGICAL WARFARE In order to wage a war, the first battle fought to capture the hearts and minds of the people. Naturally, the inherent violent nature of war brings about great psychological resistance in civilized nations. To break this resistance, people must believe that they are fighting a monster. The British Political Warfare Executive (PWE) was a clandestine body created to produce and disseminate both propaganda. Their role in the war would go on to shape history as we know it. One of their main methods of swaying public opinion was to hire Hollywood producers to produce propaganda films. In 1938, their main objective was to promote anti-German sentiment to sway the American public into support the war that was inevitably coming. In 1981, Jack Glenn, director of the popular 1940s newsreel series March of Time, died at age 76. His obituary, published in the Bergen, New Jersey, Sunday Record on February 15, 1981, included a shocking revelation. "As senior director for the popular movie house newsreel, he often created world events with actors and movie sets. One such news feature film, Inside N@z¡Germany, made in 1938, included footage of a “concentration camp” that was filmed on Staten Island with scores of New York City actors." Prior to the advent of TV, Americans would get their news from the local theater, and millions turned out in 1938 for the release of "Inside N@z¡ Germany." Most were unsuspecting and believed that they were watching a true and accurate accounting of everyday life in Berlin. Little did they know that they were actually watching American citizens dressed up as N@z¡s, being filmed at a movie set that had been constructed in New York. These faked scenes were later included in the “Why We Fight” propaganda film series made and issued by the US government during World War II for viewing by US military personnel and the general American public. Many of the millions who have watched these staged events understandably accepted them as depictions of reality in Third Reich Germany. In 1993, Inside N@z¡i Germany was deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry One scene in particular from the film that depicted the word "jude" and a "star of david" written on a storefront window has become one of the most iconic images associated with the holocaust. It is still being pushed online to this day and can be found in archives and museums across the entire globe. The only problem with this is that....IT'S FAKE.
2:12

WW2 PSYCHOLOGICAL WARFARE In order to wage a war, the first battle fought to capture the hearts and minds of the people. Naturally, the inherent violent nature of war brings about great psychological resistance in civilized nations. To break this resistance, people must believe that they are fighting a monster. The British Political Warfare Executive (PWE) was a clandestine body created to produce and disseminate both propaganda. Their role in the war would go on to shape history as we know it. One of their main methods of swaying public opinion was to hire Hollywood producers to produce propaganda films. In 1938, their main objective was to promote anti-German sentiment to sway the American public into support the war that was inevitably coming. In 1981, Jack Glenn, director of the popular 1940s newsreel series March of Time, died at age 76. His obituary, published in the Bergen, New Jersey, Sunday Record on February 15, 1981, included a shocking revelation. "As senior director for the popular movie house newsreel, he often created world events with actors and movie sets. One such news feature film, Inside N@z¡Germany, made in 1938, included footage of a “concentration camp” that was filmed on Staten Island with scores of New York City actors." Prior to the advent of TV, Americans would get their news from the local theater, and millions turned out in 1938 for the release of "Inside N@z¡ Germany." Most were unsuspecting and believed that they were watching a true and accurate accounting of everyday life in Berlin. Little did they know that they were actually watching American citizens dressed up as N@z¡s, being filmed at a movie set that had been constructed in New York. These faked scenes were later included in the “Why We Fight” propaganda film series made and issued by the US government during World War II for viewing by US military personnel and the general American public. Many of the millions who have watched these staged events understandably accepted them as depictions of reality in Third Reich Germany. In 1993, Inside N@z¡i Germany was deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry One scene in particular from the film that depicted the word "jude" and a "star of david" written on a storefront window has become one of the most iconic images associated with the holocaust. It is still being pushed online to this day and can be found in archives and museums across the entire globe. The only problem with this is that....IT'S FAKE.

1984

623,439 Aufrufe • vor 1 Jahr

The Ziggurat one of last standing monuments of Sumarians. Built sometime in 21st Century BC by King Ur-Nammu and his son Shulgi. It stood in the center of the city and was center of all administration. It is located near the modern-day city of Nasiriyah in southern Iraq 🇮🇶, along the banks of the Euphrates River. It lies within the ancient city of Ur, which was one of most important urban centers of ancient Mesopotamia. The Ziggurat were massive stepped structures built in ancient Mesopotamia, primarily in Sumerian, Akkadian and Babylonian civilizations. These monumental temples served as sacred precincts dedicated to various deities, acting as focal points for religious and civic activities. It was built around 2100 BC, during reign of King Ur-Nammu of 3rd Dynasty of Ur. It was part of a larger complex that included administrative buildings, courtyards and residential areas, reflecting the city's status as a regional powerhouse. The Ziggurat was built by stacking a total of 64 stone and mud platforms that progressively shrunk until ziggurat was shape of a tower like pyramid, though with a flat top for a temple. It was built so that each corner faced a cardinal point and showed solidity by building the walls facing slightly inward so that it would appear eternal. The monument was then covered in a thick layer of burnt brick in order to protect it from the elements. The interior of the Ziggurat of Ur consisted of several chambers and corridors, serving various administrative and religious functions. These included storage rooms for offerings and temple treasures. The inside of the ziggurat has no chambers, just a thick core of mud and brick to form a ‘spine’ for the monument. The bricks were made of dried reed and mud and each weight about four and half kilograms. The Ziggurat of Ur is characterized by its massive stepped platform, constructed using mud bricks and baked bricks. It consists of three main levels, each diminishing in size as it ascends, with a temple dedicated to the patron deity located at the summit. The outer facade was adorned with glazed bricks, depicting intricate designs and motifs. The Ziggurat held immense religious and cultural significance for the people of ancient Mesopotamia. It served as a symbol of the city's prosperity and power. It represents the pinnacle of architectural achievement in ancient Mesopotamia. It reflects the ingenuity and technological prowess of Sumerian civilization, showcasing their ability to undertake massive construction projects using rudimentary tools and materials. Ziggurats were primarily built in the ancient cities of Mesopotamia, including Ur, Uruk, Babylon, and Eridu. These cities were centers of political, economic, and religious activity, with ziggurats serving as focal points of worship and civic life. Ziggurats were probably very common in ancient Sumaria, but the ziggurat at Ur is the last one standing and so gives us the most information about Sumaria. 🎥 : Credit to the Owner #archaeohistories
0:58

The Ziggurat one of last standing monuments of Sumarians. Built sometime in 21st Century BC by King Ur-Nammu and his son Shulgi. It stood in the center of the city and was center of all administration. It is located near the modern-day city of Nasiriyah in southern Iraq 🇮🇶, along the banks of the Euphrates River. It lies within the ancient city of Ur, which was one of most important urban centers of ancient Mesopotamia. The Ziggurat were massive stepped structures built in ancient Mesopotamia, primarily in Sumerian, Akkadian and Babylonian civilizations. These monumental temples served as sacred precincts dedicated to various deities, acting as focal points for religious and civic activities. It was built around 2100 BC, during reign of King Ur-Nammu of 3rd Dynasty of Ur. It was part of a larger complex that included administrative buildings, courtyards and residential areas, reflecting the city's status as a regional powerhouse. The Ziggurat was built by stacking a total of 64 stone and mud platforms that progressively shrunk until ziggurat was shape of a tower like pyramid, though with a flat top for a temple. It was built so that each corner faced a cardinal point and showed solidity by building the walls facing slightly inward so that it would appear eternal. The monument was then covered in a thick layer of burnt brick in order to protect it from the elements. The interior of the Ziggurat of Ur consisted of several chambers and corridors, serving various administrative and religious functions. These included storage rooms for offerings and temple treasures. The inside of the ziggurat has no chambers, just a thick core of mud and brick to form a ‘spine’ for the monument. The bricks were made of dried reed and mud and each weight about four and half kilograms. The Ziggurat of Ur is characterized by its massive stepped platform, constructed using mud bricks and baked bricks. It consists of three main levels, each diminishing in size as it ascends, with a temple dedicated to the patron deity located at the summit. The outer facade was adorned with glazed bricks, depicting intricate designs and motifs. The Ziggurat held immense religious and cultural significance for the people of ancient Mesopotamia. It served as a symbol of the city's prosperity and power. It represents the pinnacle of architectural achievement in ancient Mesopotamia. It reflects the ingenuity and technological prowess of Sumerian civilization, showcasing their ability to undertake massive construction projects using rudimentary tools and materials. Ziggurats were primarily built in the ancient cities of Mesopotamia, including Ur, Uruk, Babylon, and Eridu. These cities were centers of political, economic, and religious activity, with ziggurats serving as focal points of worship and civic life. Ziggurats were probably very common in ancient Sumaria, but the ziggurat at Ur is the last one standing and so gives us the most information about Sumaria. 🎥 : Credit to the Owner #archaeohistories

Archaeo - Histories

71,089 Aufrufe • vor 7 Monaten

You might expect the oldest wooden church in the world to be hidden in some remote place with a strong tradition of timber-framed buildings – perhaps in some European woodland or mountain pass. It is, however, in a somewhat unlikely location: close to the northern end of the London Underground Circle Line, in the village of Greensted-juxta-Ongar in the Essex countryside. Dedicated to St Andrew, this is the only Anglo-Saxon timber church that still exists, and was established by St Cedd in the 650s during his mission to convert the East Saxons. Having avoided fire, war, neglect and insect attack, it is a miracle that the church has survived. The building is constructed from a satisfying mix of materials: the trees that were felled in the woods that still enclose the church, together with the clay that was dug from the surrounding fields before being kiln-fired into the red bricks of the later chancel and the roof tiles that are punctuated here by dormer windows. Ignoring the dinky seventeenth-century tower with its white clapboarding and shingle-clad steeple, the rest of the church might be mistaken for a farm building. The fifty-one vertically split logs that form the walls of the nave were felled when the trees were about a hundred years old; they were green and unseasoned, which made it easier to work than dry, hard, seasoned oak. Most of the squaring up, shaping and cutting of the joints that connected it all together would have been done with axes, while the flat inner face of the wall was achieved with an adze – a type of axe with a curved blade at a right angle to the handle. Today the logs are black with tar, but they were originally protected from the elements by the large overhang of the thatched eaves that would have dis- persed rainwater clear of the walls. The logs are held together with ‘tree-nails’ (another term for wooden pegs). This ancient palisading technique, by which vertical stand- ing tree trunks were positioned in a row, would also have been used to wall in Iron Age hill forts. The Venerable Bede recorded that the church at Lindisfarne, built in ad 651–61, was similarly made of split tree trunks and roofed with reeds. This method of construction can also be seen in the burial chamber that housed the king interred in the ninth-century Gokstad, the largest Viking ship ever found, which is on display in Norway’s Viking Ship Museum in Oslo. The oak wrights cut grooves into each side of all the logs and slipped tongues of lath – thin strips of wood – to keep out draughts. The only corner log that survived the unnecessarily intrusive Victorian restoration has had a quarter-section axed out. Visitors to St Andrew’s are greeted inside by the smell of ancient wood and polish. When I visited, a table was laden with local jams and chutneys, and the interior was much warmer than the stone churches I was used to. Scorch marks on the walls suggest that it was once lit by oil lamps. Windows are absent, but a set of pegged peepholes would have enabled those outside to observe church services. Sitting in the church on a winter’s afternoon is darkly atmospheric, and it is possible to experience something of how the building must have felt when the body of St Edmund was laid within these walls for the night in 1013 on the way back from London to the abbey at Bury St Edmunds, where it had been taken for safekeeping during a time of Viking raids. Excerpt from #churchgoing out October.
0:31

You might expect the oldest wooden church in the world to be hidden in some remote place with a strong tradition of timber-framed buildings – perhaps in some European woodland or mountain pass. It is, however, in a somewhat unlikely location: close to the northern end of the London Underground Circle Line, in the village of Greensted-juxta-Ongar in the Essex countryside. Dedicated to St Andrew, this is the only Anglo-Saxon timber church that still exists, and was established by St Cedd in the 650s during his mission to convert the East Saxons. Having avoided fire, war, neglect and insect attack, it is a miracle that the church has survived. The building is constructed from a satisfying mix of materials: the trees that were felled in the woods that still enclose the church, together with the clay that was dug from the surrounding fields before being kiln-fired into the red bricks of the later chancel and the roof tiles that are punctuated here by dormer windows. Ignoring the dinky seventeenth-century tower with its white clapboarding and shingle-clad steeple, the rest of the church might be mistaken for a farm building. The fifty-one vertically split logs that form the walls of the nave were felled when the trees were about a hundred years old; they were green and unseasoned, which made it easier to work than dry, hard, seasoned oak. Most of the squaring up, shaping and cutting of the joints that connected it all together would have been done with axes, while the flat inner face of the wall was achieved with an adze – a type of axe with a curved blade at a right angle to the handle. Today the logs are black with tar, but they were originally protected from the elements by the large overhang of the thatched eaves that would have dis- persed rainwater clear of the walls. The logs are held together with ‘tree-nails’ (another term for wooden pegs). This ancient palisading technique, by which vertical stand- ing tree trunks were positioned in a row, would also have been used to wall in Iron Age hill forts. The Venerable Bede recorded that the church at Lindisfarne, built in ad 651–61, was similarly made of split tree trunks and roofed with reeds. This method of construction can also be seen in the burial chamber that housed the king interred in the ninth-century Gokstad, the largest Viking ship ever found, which is on display in Norway’s Viking Ship Museum in Oslo. The oak wrights cut grooves into each side of all the logs and slipped tongues of lath – thin strips of wood – to keep out draughts. The only corner log that survived the unnecessarily intrusive Victorian restoration has had a quarter-section axed out. Visitors to St Andrew’s are greeted inside by the smell of ancient wood and polish. When I visited, a table was laden with local jams and chutneys, and the interior was much warmer than the stone churches I was used to. Scorch marks on the walls suggest that it was once lit by oil lamps. Windows are absent, but a set of pegged peepholes would have enabled those outside to observe church services. Sitting in the church on a winter’s afternoon is darkly atmospheric, and it is possible to experience something of how the building must have felt when the body of St Edmund was laid within these walls for the night in 1013 on the way back from London to the abbey at Bury St Edmunds, where it had been taken for safekeeping during a time of Viking raids. Excerpt from #churchgoing out October.

CHURCH GOING with Andrew Ziminski FSA & SPAB 🇺🇦

236,452 Aufrufe • vor 2 Jahren

The annual Viking and Slav festival in Wollin, Poland has just concluded. It’s one of Europe’s largest early medieval historical reenactment events and has been held annually since 1993. Thousands of reenactors from dozens of countries recreate daily life, crafts, music, rituals, markets and large-scale battles from the Viking Age / early Middle Ages (roughly 8th–12th centuries), with a strong emphasis on both Slavic and Scandinavian cultures. It draws tens of thousands of visitors and combines historical reconstruction with cultural and educational elements. Around the 9th–11th centuries, Wolin was a major multi-ethnic trading emporium at the mouth of the Oder River on the southern Baltic coast. It was one of the largest and wealthiest settlements in the Baltic region during its peak (mid-10th to early 11th century). The settlement began as a Slavic (Wolinians/Pomeranian) community in the late 8th century, with archaeological evidence showing a strong Slavic character and building traditions. It had a large fortified area with harbors, workshops and cemeteries. Contemporary accounts, such as those given by the Arab traveler Ibrahim ibn Yaqub in the 960s, describe a large town of the Wolinians with multiple gates and a substantial port. Scandinavians, and especially Danes, lived, traded and worked there as merchants, craftsmen, and possibly a military elite. Finds include Norse-style jewelry (Thor’s hammer amulets, brooches), weapons, Norwegian whetstones and soapstone vessels, gaming pieces, wooden carvings with Scandinavian motifs, runic inscriptions and house remains. Their influence was particularly visible from the mid-10th century onward, though the town retained a distinct Slavic core rather than becoming a pure Scandinavian colony. The 11th-century chronicler Adam of Bremen described it as “the largest of all the cities that Europe has to offer,” inhabited by Slavs and other peoples (including Saxons and “Greeks”), with foreigners enjoying equal rights (though they kept their pagan beliefs quiet). It was a key node in Baltic trade networks involving amber, silver, slaves, furs, and other goods, linking Scandinavia, the Slavic lands and the Byzantine Empire. Wolin is widely linked to two medieval legends: - Jomsborg, an alleged stronghold of the semi-legendary Jomsvikings (a Viking warrior brotherhood described in the Icelandic Jómsvíkinga saga). Some accounts credit its founding to Danish king Harald Bluetooth (who may have died or taken refuge there around 986–987) or the jarl Palnatoki in alliance with a Slavic ruler. No definitive fortress has been conclusively identified, but the site matches many descriptions. - Vineta, a fabulously rich city that allegedly sank into the sea due to the arrogance of its inhabitants. Interactions were mainly commercial and cultural rather than pure conquest, though political ties involved the emerging Piast state of Poland, Denmark, and local Slavic tribes. Wolin declined after Danish attacks in the 12th century.
0:33

The annual Viking and Slav festival in Wollin, Poland has just concluded. It’s one of Europe’s largest early medieval historical reenactment events and has been held annually since 1993. Thousands of reenactors from dozens of countries recreate daily life, crafts, music, rituals, markets and large-scale battles from the Viking Age / early Middle Ages (roughly 8th–12th centuries), with a strong emphasis on both Slavic and Scandinavian cultures. It draws tens of thousands of visitors and combines historical reconstruction with cultural and educational elements. Around the 9th–11th centuries, Wolin was a major multi-ethnic trading emporium at the mouth of the Oder River on the southern Baltic coast. It was one of the largest and wealthiest settlements in the Baltic region during its peak (mid-10th to early 11th century). The settlement began as a Slavic (Wolinians/Pomeranian) community in the late 8th century, with archaeological evidence showing a strong Slavic character and building traditions. It had a large fortified area with harbors, workshops and cemeteries. Contemporary accounts, such as those given by the Arab traveler Ibrahim ibn Yaqub in the 960s, describe a large town of the Wolinians with multiple gates and a substantial port. Scandinavians, and especially Danes, lived, traded and worked there as merchants, craftsmen, and possibly a military elite. Finds include Norse-style jewelry (Thor’s hammer amulets, brooches), weapons, Norwegian whetstones and soapstone vessels, gaming pieces, wooden carvings with Scandinavian motifs, runic inscriptions and house remains. Their influence was particularly visible from the mid-10th century onward, though the town retained a distinct Slavic core rather than becoming a pure Scandinavian colony. The 11th-century chronicler Adam of Bremen described it as “the largest of all the cities that Europe has to offer,” inhabited by Slavs and other peoples (including Saxons and “Greeks”), with foreigners enjoying equal rights (though they kept their pagan beliefs quiet). It was a key node in Baltic trade networks involving amber, silver, slaves, furs, and other goods, linking Scandinavia, the Slavic lands and the Byzantine Empire. Wolin is widely linked to two medieval legends: - Jomsborg, an alleged stronghold of the semi-legendary Jomsvikings (a Viking warrior brotherhood described in the Icelandic Jómsvíkinga saga). Some accounts credit its founding to Danish king Harald Bluetooth (who may have died or taken refuge there around 986–987) or the jarl Palnatoki in alliance with a Slavic ruler. No definitive fortress has been conclusively identified, but the site matches many descriptions. - Vineta, a fabulously rich city that allegedly sank into the sea due to the arrogance of its inhabitants. Interactions were mainly commercial and cultural rather than pure conquest, though political ties involved the emerging Piast state of Poland, Denmark, and local Slavic tribes. Wolin declined after Danish attacks in the 12th century.

Visegrád 24

180,776 Aufrufe • vor 18 Tagen

Significant damage was caused to northern Israeli communities following Hezbollah’s attacks against Israelis on Oct. 8, 2023. As part of efforts to create the conditions for the return of the northern residents to their homes, the IDF is conducting a wide-range operation to restore and clear up communities in northern Israel. Soldiers are currently deployed across more than 40 communities in northern Israel and in civilian areas that were used as military assembly areas. The Home Front and the Logistics Units of the Northern Command, in coordination with their civilian counterparts and in close cooperation with local authorities, have been working for over a year to establish conditions for the safe return of northern residents to their homes.
0:42

Significant damage was caused to northern Israeli communities following Hezbollah’s attacks against Israelis on Oct. 8, 2023. As part of efforts to create the conditions for the return of the northern residents to their homes, the IDF is conducting a wide-range operation to restore and clear up communities in northern Israel. Soldiers are currently deployed across more than 40 communities in northern Israel and in civilian areas that were used as military assembly areas. The Home Front and the Logistics Units of the Northern Command, in coordination with their civilian counterparts and in close cooperation with local authorities, have been working for over a year to establish conditions for the safe return of northern residents to their homes.

Israel Defense Forces

215,203 Aufrufe • vor 1 Jahr

Norway fans are bringing Viking energy to the World Cup. The Norwegian men’s national football team is returning to the tournament for the first time in 28 years, and supporters have been celebrating with a “rowing” chant performed in unison — a stadium gesture inspired by Viking imagery. The team has leaned into that theme ahead of the 2026 World Cup, recently releasing a Viking-inspired photoshoot featuring players in historical-style clothing, holding shields and swords beside longboats on a rugged coastal backdrop. The images, photographed by David Yarrow, were intended as a tribute to Norway’s heritage, though they have also sparked debate online over the use of Viking symbolism. For fans, the “row” chant has become part of the moment: Norway is back on football’s biggest stage, and the Viking roar is already following them there. #norway #worldcup #worldcup2026 #norwayfootball #vikingchant #footballfans #haaland #odegaard Video credit: @hypeboynorway via TikTok
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Norway fans are bringing Viking energy to the World Cup. The Norwegian men’s national football team is returning to the tournament for the first time in 28 years, and supporters have been celebrating with a “rowing” chant performed in unison — a stadium gesture inspired by Viking imagery. The team has leaned into that theme ahead of the 2026 World Cup, recently releasing a Viking-inspired photoshoot featuring players in historical-style clothing, holding shields and swords beside longboats on a rugged coastal backdrop. The images, photographed by David Yarrow, were intended as a tribute to Norway’s heritage, though they have also sparked debate online over the use of Viking symbolism. For fans, the “row” chant has become part of the moment: Norway is back on football’s biggest stage, and the Viking roar is already following them there. #norway #worldcup #worldcup2026 #norwayfootball #vikingchant #footballfans #haaland #odegaard Video credit: @hypeboynorway via TikTok

Brut America

41,413 Aufrufe • vor 2 Monaten

Pompeii - their last days began on Aug. 24, 79 AD, day after Roman holiday of Volcanalia, dedicated to the god of fire. At noon Mount Vesuvius roared to life, spewing ash hundreds of feet into the air for 18 hours straight. The choking ash rained down on the cities in the surrounding countryside, filling courtyards, blocking doors, and collapsing roofs. In the only known eyewitness account to the eruption, Pliny the Younger reported on his uncle’s ill-fated foray into the thick of the ash from Misenum, on the north end of the bay: ... the buildings were now shaking with violent shocks, and seemed to be swaying to and fro as if they were torn from their foundations. Outside, on the other hand, there was the danger of failing pumice stones, even though these were light and porous; however, after comparing the risks they chose the latter. In my uncle’s case one reason outweighed the other, but for the others it was a choice of fears. As a protection against falling objects they put pillows on their heads tied down with cloths. And then: “You could hear the shrieks of women, the wailing of infants, and the shouting of men; some were calling their parents, others their children or their wives, trying to recognize them by their voices. People bewailed their own fate or that of their relatives, and there were some who prayed for death in their terror of dying. Many besought the aid of the gods, but still more imagined there were no gods left, and that the universe was plunged into eternal darkness for evermore.” The next morning the cone of the volcano collapsed, triggering a hundred-mile-an-hour avalanche of mud and ash that flooded Pompeii, just a little over 5 miles away, destroying everything in its path. Pompeii and its smaller neighboring village of Herculaneum disappeared, and were only discovered by accident during the construction of Charles of Bourbon’s palace in 1738. Miraculously, the two cities were nearly perfectly preserved under layers of ash. About three-quarters of Pompeii’s 165 acres have been excavated, and some 1,150 bodies have been discovered out of about 2,000 thought to have died in the city when it was destroyed. This means that the vast majority of the city of 20,000 fled at the first signs of the volcanic activity. Those that did not flee the city of Pompeii in August of 79 AD were doomed. Buried for 1,700 years under 30 feet of mud and ash and reduced by the centuries to skeletons, they remained entombed until excavations took place in the early 19th Century. The plaster casts of the men, women, children, and animals of Pompeii were primarily made in the mid-1800s. The building they were originally housed in suffered extensive damage in World War II, and they are now located in several places around the city. As excavators continued to uncover human remains, they noticed that the skeletons were surrounded by voids in the compacted ash. By carefully pouring plaster of Paris into the spaces, the final poses, clothing, and faces of the last residents of Pompeii came to life. Antiquarium, near the Forum, once held most of the plaster casts. It was damaged during Allied bombing in 1943, and has been closed since 1978 for restoration. The Garden of the Fugitives holds the largest number of victims found in one place, where 13 people sought refuge in a fruit orchard. Nine sets of remains were found at the House of Mysteries, where the roof collapsed, trapping them inside. One plaster cast can be seen inside the Caupona Pherusa tavern. The Stabian Thermal baths and the Macellum (fish market) both house two plaster casts, and the Horrea (granary) and Olitorium (market) holds several more, including a pig, and what may be the most famous cast of all, of a small dog in a collar, writhing on its back. 🎥© History of the Romans #archaeohistories
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Pompeii - their last days began on Aug. 24, 79 AD, day after Roman holiday of Volcanalia, dedicated to the god of fire. At noon Mount Vesuvius roared to life, spewing ash hundreds of feet into the air for 18 hours straight. The choking ash rained down on the cities in the surrounding countryside, filling courtyards, blocking doors, and collapsing roofs. In the only known eyewitness account to the eruption, Pliny the Younger reported on his uncle’s ill-fated foray into the thick of the ash from Misenum, on the north end of the bay: ... the buildings were now shaking with violent shocks, and seemed to be swaying to and fro as if they were torn from their foundations. Outside, on the other hand, there was the danger of failing pumice stones, even though these were light and porous; however, after comparing the risks they chose the latter. In my uncle’s case one reason outweighed the other, but for the others it was a choice of fears. As a protection against falling objects they put pillows on their heads tied down with cloths. And then: “You could hear the shrieks of women, the wailing of infants, and the shouting of men; some were calling their parents, others their children or their wives, trying to recognize them by their voices. People bewailed their own fate or that of their relatives, and there were some who prayed for death in their terror of dying. Many besought the aid of the gods, but still more imagined there were no gods left, and that the universe was plunged into eternal darkness for evermore.” The next morning the cone of the volcano collapsed, triggering a hundred-mile-an-hour avalanche of mud and ash that flooded Pompeii, just a little over 5 miles away, destroying everything in its path. Pompeii and its smaller neighboring village of Herculaneum disappeared, and were only discovered by accident during the construction of Charles of Bourbon’s palace in 1738. Miraculously, the two cities were nearly perfectly preserved under layers of ash. About three-quarters of Pompeii’s 165 acres have been excavated, and some 1,150 bodies have been discovered out of about 2,000 thought to have died in the city when it was destroyed. This means that the vast majority of the city of 20,000 fled at the first signs of the volcanic activity. Those that did not flee the city of Pompeii in August of 79 AD were doomed. Buried for 1,700 years under 30 feet of mud and ash and reduced by the centuries to skeletons, they remained entombed until excavations took place in the early 19th Century. The plaster casts of the men, women, children, and animals of Pompeii were primarily made in the mid-1800s. The building they were originally housed in suffered extensive damage in World War II, and they are now located in several places around the city. As excavators continued to uncover human remains, they noticed that the skeletons were surrounded by voids in the compacted ash. By carefully pouring plaster of Paris into the spaces, the final poses, clothing, and faces of the last residents of Pompeii came to life. Antiquarium, near the Forum, once held most of the plaster casts. It was damaged during Allied bombing in 1943, and has been closed since 1978 for restoration. The Garden of the Fugitives holds the largest number of victims found in one place, where 13 people sought refuge in a fruit orchard. Nine sets of remains were found at the House of Mysteries, where the roof collapsed, trapping them inside. One plaster cast can be seen inside the Caupona Pherusa tavern. The Stabian Thermal baths and the Macellum (fish market) both house two plaster casts, and the Horrea (granary) and Olitorium (market) holds several more, including a pig, and what may be the most famous cast of all, of a small dog in a collar, writhing on its back. 🎥© History of the Romans #archaeohistories

Archaeo - Histories

146,641 Aufrufe • vor 2 Jahren

Massive explosion occurred at an ammunition production plant located in the settlement of Colleferro in central Italy on Thursday afternoon. The blast was reportesly caused by the fire that broke out in the powder pressing section and was started from a machine used to press gunpowder. The plant in question belongs to the KNDS Ammo Italy defense company, specializing in the proudction of medium and large-caliber ammunition for land and naval systems, as a well as as well as solid fuels for aerospace vehicles. No casualties have been reported so far.
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Massive explosion occurred at an ammunition production plant located in the settlement of Colleferro in central Italy on Thursday afternoon. The blast was reportesly caused by the fire that broke out in the powder pressing section and was started from a machine used to press gunpowder. The plant in question belongs to the KNDS Ammo Italy defense company, specializing in the proudction of medium and large-caliber ammunition for land and naval systems, as a well as as well as solid fuels for aerospace vehicles. No casualties have been reported so far.

Status-6 (War & Military News)

22,715 Aufrufe • vor 9 Tagen

Norway is more than a nation, it is thousands of years of heritage, genes and tradition. Norway is a land carved by ice, guarded by mountains, embraced by the sea. For thousands of years, men and women have endured here, shaping their lives in rhythm with nature, and passing on their strength through blood, tradition and memory. Before the Vikings sailed into the chronicles of the world, people lived here as hunters and gatherers, fishers and farmers. When the glaciers released their grip, the first footsteps followed the reindeer herds across the raw and untamed land. From the beginning, survival was built on reverence for what the earth and sea provided. Then came the time of farms and villages. Generations learned to till the soil, to tame animals, to forge communities founded on loyalty, honour and kinship - and with them rose the myths of Odin, Thor, Freya, of gods mirroring the storms, the harvest and the fire in human hearts. The Viking Age carried Norway’s name far beyond its fjords. From 800 to 1050, the ocean became our road, our battlefield, our lifeline. Vikings were more than raiders: they were builders, explorers, craftsmen, women and men who sought honor, land and destiny. They left runes not only in stone, but in the very memory of nations, reaching from the rivers of Russia to the shores of Vinland. With the end of the Viking Age, Norway entered a new chapter – gathered under one crown, baptized into Christendom, bound closer to Europe. Yet the old spirits never vanished. They lived on in stave churches carved like sacred forests, in folk songs echoing through valleys, in tales of trolls, spirits, and the unseen. Our traditions, the bunad, the crafts, the music, all carry whispers of the ancient soul of Norway. And always, alongside this, the Sámi people. Europe’s firstborn nation of the North. Their reindeer herds, their joik, their languages, their spiritual bond with earth and sky – they are not a footnote, but a living root of this land. Their story, too, is Norway’s story. Our genes are memory. Each generation inherits the trials and triumphs of those before, and adds their own to the great chain. We are descendants of hunters who braved the ice, of farmers who cleared fields from stone, of seafarers who crossed oceans, of Sámi who lived with the tundra and its silence. Norway is not merely a state upon a map. Norway is a legacy of endurance. A pattern etched into soil, blood and spirit. A people who have withstood storms, wars, hunger, and darkness – and who, every time, rise again. Norway is our DNA.
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Norway is more than a nation, it is thousands of years of heritage, genes and tradition. Norway is a land carved by ice, guarded by mountains, embraced by the sea. For thousands of years, men and women have endured here, shaping their lives in rhythm with nature, and passing on their strength through blood, tradition and memory. Before the Vikings sailed into the chronicles of the world, people lived here as hunters and gatherers, fishers and farmers. When the glaciers released their grip, the first footsteps followed the reindeer herds across the raw and untamed land. From the beginning, survival was built on reverence for what the earth and sea provided. Then came the time of farms and villages. Generations learned to till the soil, to tame animals, to forge communities founded on loyalty, honour and kinship - and with them rose the myths of Odin, Thor, Freya, of gods mirroring the storms, the harvest and the fire in human hearts. The Viking Age carried Norway’s name far beyond its fjords. From 800 to 1050, the ocean became our road, our battlefield, our lifeline. Vikings were more than raiders: they were builders, explorers, craftsmen, women and men who sought honor, land and destiny. They left runes not only in stone, but in the very memory of nations, reaching from the rivers of Russia to the shores of Vinland. With the end of the Viking Age, Norway entered a new chapter – gathered under one crown, baptized into Christendom, bound closer to Europe. Yet the old spirits never vanished. They lived on in stave churches carved like sacred forests, in folk songs echoing through valleys, in tales of trolls, spirits, and the unseen. Our traditions, the bunad, the crafts, the music, all carry whispers of the ancient soul of Norway. And always, alongside this, the Sámi people. Europe’s firstborn nation of the North. Their reindeer herds, their joik, their languages, their spiritual bond with earth and sky – they are not a footnote, but a living root of this land. Their story, too, is Norway’s story. Our genes are memory. Each generation inherits the trials and triumphs of those before, and adds their own to the great chain. We are descendants of hunters who braved the ice, of farmers who cleared fields from stone, of seafarers who crossed oceans, of Sámi who lived with the tundra and its silence. Norway is not merely a state upon a map. Norway is a legacy of endurance. A pattern etched into soil, blood and spirit. A people who have withstood storms, wars, hunger, and darkness – and who, every time, rise again. Norway is our DNA.

Rebecca Mistereggen

17,825 Aufrufe • vor 11 Monaten

Dolce & Gabbana (D&G) fashion show in summer of 2019; Ancient Greece inspired collection. As the collection was inspired by Ancient Greece, it was only fitting that the clothes were displayed for the first time at the Valley of the Temples in Agrigento, Sicily - Italy. The noble temple, reflecting the tangerine yellow of the setting sun, stood like a rock of ages – taking Sicily back thousands of years to the artistic culture of ancient Greece. The Valley of the Temples in Agrigento belonged – for one night only – to Dolce & Gabbana, whose Alta Moda collection was shown on this historic site. Civilization of ancient Greece flourished from 8th Century BC to 600 CE. It was located in southeastern Europe along the coast of Mediterranean Sea and included modern-day countries of Greece and parts of Türkiye, Italy and Bulgaria. Today, ancient Greeks are known for their contributions to philosophy, politics, art, architecture, and science. They were also known for their unique clothing styles, inspired by their environment and cultural traditions. In movies about ancient Greece, characters portraying Greek citizens, soldiers, or mythological figures often wear these clothing styles. Characteristics of traditional Greek fashion included long, flowing garments made of lightweight materials such as linen or wool. People draped these garments over the body in a manner that allowed for a range of movement and comfort. Both men and women wore tunics that were knee-length or longer. They could be worn as a standalone garment or layered over other clothing. People fastened their tunics at the shoulder with a pin or brooch and often wore a belt to cinch the waist. Overall, the clothing of ancient Greece was functional and practical but also imbued with cultural and artistic significance. Intricate patterns, designs, and embroidery often adorned garments, and they were often made of luxurious materials such as silk or gold-threaded fabric. A tunic was a garment that both men and women would commonly wear in ancient Greece. It was a sleeveless piece of clothing, knee-length or longer, that they wore over the upper body and fastened at the shoulder with a pin or brooch. Ancient Greeks typically made tunics of lightweight materials such as linen or wool and wore them as either a standalone garment or layered over other clothing. The tunic was a versatile garment that could be worn in a variety of settings and was suitable for both formal and casual occasions. It was also practical in ancient Greek dress, allowing for a range of movement and comfort. Ancient Greeks created their clothing using various techniques and tools, such as weaving fabrics on looms, sewing together pieces of fabric, and using decorative techniques like embroidery, beadwork, and the use of gold and silver thread. In ancient Greece, men and women wore tunics that they crafted out of lightweight materials like linen or wool and fastened at the shoulder with a pin or brooch. Men and women both wore a chiton, a long sleeveless garment, as well as cloaks called himatia made of heavier materials like wool or animal skin to keep warm. Men wore various headgear such as hats, helmet-like caps, and headbands, while women wore head coverings like veils, headbands, and hair ornaments. Ancient Greeks also wore garments like the peplos and the chlamys. The peplos was a long rectangular piece of fabric that women would often wear on formal occasions, fastened at the shoulders with a pair of fibulae (brooches), and made of luxurious materials such as silk with intricate patterns or designs. A chlamys was a short cloak-like garment worn by men over a tunic or chiton. It was made of lightweight materials like wool or linen, fastened at the shoulder with a pin or brooch, and often used for travel, outdoor activities, or in battle. 🎥© antiktarih (IG) #archaeohistories
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Dolce & Gabbana (D&G) fashion show in summer of 2019; Ancient Greece inspired collection. As the collection was inspired by Ancient Greece, it was only fitting that the clothes were displayed for the first time at the Valley of the Temples in Agrigento, Sicily - Italy. The noble temple, reflecting the tangerine yellow of the setting sun, stood like a rock of ages – taking Sicily back thousands of years to the artistic culture of ancient Greece. The Valley of the Temples in Agrigento belonged – for one night only – to Dolce & Gabbana, whose Alta Moda collection was shown on this historic site. Civilization of ancient Greece flourished from 8th Century BC to 600 CE. It was located in southeastern Europe along the coast of Mediterranean Sea and included modern-day countries of Greece and parts of Türkiye, Italy and Bulgaria. Today, ancient Greeks are known for their contributions to philosophy, politics, art, architecture, and science. They were also known for their unique clothing styles, inspired by their environment and cultural traditions. In movies about ancient Greece, characters portraying Greek citizens, soldiers, or mythological figures often wear these clothing styles. Characteristics of traditional Greek fashion included long, flowing garments made of lightweight materials such as linen or wool. People draped these garments over the body in a manner that allowed for a range of movement and comfort. Both men and women wore tunics that were knee-length or longer. They could be worn as a standalone garment or layered over other clothing. People fastened their tunics at the shoulder with a pin or brooch and often wore a belt to cinch the waist. Overall, the clothing of ancient Greece was functional and practical but also imbued with cultural and artistic significance. Intricate patterns, designs, and embroidery often adorned garments, and they were often made of luxurious materials such as silk or gold-threaded fabric. A tunic was a garment that both men and women would commonly wear in ancient Greece. It was a sleeveless piece of clothing, knee-length or longer, that they wore over the upper body and fastened at the shoulder with a pin or brooch. Ancient Greeks typically made tunics of lightweight materials such as linen or wool and wore them as either a standalone garment or layered over other clothing. The tunic was a versatile garment that could be worn in a variety of settings and was suitable for both formal and casual occasions. It was also practical in ancient Greek dress, allowing for a range of movement and comfort. Ancient Greeks created their clothing using various techniques and tools, such as weaving fabrics on looms, sewing together pieces of fabric, and using decorative techniques like embroidery, beadwork, and the use of gold and silver thread. In ancient Greece, men and women wore tunics that they crafted out of lightweight materials like linen or wool and fastened at the shoulder with a pin or brooch. Men and women both wore a chiton, a long sleeveless garment, as well as cloaks called himatia made of heavier materials like wool or animal skin to keep warm. Men wore various headgear such as hats, helmet-like caps, and headbands, while women wore head coverings like veils, headbands, and hair ornaments. Ancient Greeks also wore garments like the peplos and the chlamys. The peplos was a long rectangular piece of fabric that women would often wear on formal occasions, fastened at the shoulders with a pair of fibulae (brooches), and made of luxurious materials such as silk with intricate patterns or designs. A chlamys was a short cloak-like garment worn by men over a tunic or chiton. It was made of lightweight materials like wool or linen, fastened at the shoulder with a pin or brooch, and often used for travel, outdoor activities, or in battle. 🎥© antiktarih (IG) #archaeohistories

Archaeo - Histories

144,162 Aufrufe • vor 2 Jahren

Nturo, a martyred village, evacuated three times in 30 years (Original in French published yesterday) The village of Nturo tragically illustrates the fate of Congolese Tutsis. Three times since 1994, these cattle herders have been forced to abandon their lands. Nearly all their cows have been slaughtered, and many of them have been killed by the militias rampant in the region. As early as 1995, Hutu génocidaires and the defeated Rwandan army began venturing farther and farther from the Goma camps, where they were generously assisted by international organizations that turned a blind eye to the fact that they were aiding murderers (including women, often complicit in the genocide). Stolen cattle were slaughtered in abattoirs funded by international aid! Stripped of their belongings and threatened with death simply for being Tutsis - and for the génocidaires, it was about finishing the “job” - they were forced to seek refuge in Rwanda or Uganda, where they lived in camps for years. On October 5, 2023, the village was set ablaze by the Hutu Nyatura militia, the FDLR, and the FARDC. Burundian troops, present as part of one of the many “peace agreements,” were camped on a hill just a few hundred meters away. They stood by, weapons at rest, in perfect complicity with the arsonists. The residents, having had time to flee to Bwiza in an area controlled by the M23, returned two months later after the zone was retaken by the latter. They found their village completely devastated. Since then, they have rebuilt it, but in a more concentrated manner: isolated homes—seen burning in the images—were deemed too difficult to defend. The work accomplished is impressive. Freshly cut wood bears witness to the recent reconstruction. During my daytime visit, only one generator was running. A few kilometers away, you can see the power line supplying Kabila’s farm, but no village benefits from it. These Congolese Tutsis, rooted in Masisi since time immemorial, have been driven from their lands three times in thirty years, the most recent being less than two years ago. They have been massacred, their cattle stolen or killed. Why would they trust the authorities in Kinshasa or the “international community”? The M23 is their only protector, the sole guarantor of their survival. The alternative? At worst, death. At best, an undignified life in a refugee camp in a country not their own. Olivier J.P. Nduhungirehe Yolande Makolo 🇷🇼 Hege Solskinnsbakk
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Nturo, a martyred village, evacuated three times in 30 years (Original in French published yesterday) The village of Nturo tragically illustrates the fate of Congolese Tutsis. Three times since 1994, these cattle herders have been forced to abandon their lands. Nearly all their cows have been slaughtered, and many of them have been killed by the militias rampant in the region. As early as 1995, Hutu génocidaires and the defeated Rwandan army began venturing farther and farther from the Goma camps, where they were generously assisted by international organizations that turned a blind eye to the fact that they were aiding murderers (including women, often complicit in the genocide). Stolen cattle were slaughtered in abattoirs funded by international aid! Stripped of their belongings and threatened with death simply for being Tutsis - and for the génocidaires, it was about finishing the “job” - they were forced to seek refuge in Rwanda or Uganda, where they lived in camps for years. On October 5, 2023, the village was set ablaze by the Hutu Nyatura militia, the FDLR, and the FARDC. Burundian troops, present as part of one of the many “peace agreements,” were camped on a hill just a few hundred meters away. They stood by, weapons at rest, in perfect complicity with the arsonists. The residents, having had time to flee to Bwiza in an area controlled by the M23, returned two months later after the zone was retaken by the latter. They found their village completely devastated. Since then, they have rebuilt it, but in a more concentrated manner: isolated homes—seen burning in the images—were deemed too difficult to defend. The work accomplished is impressive. Freshly cut wood bears witness to the recent reconstruction. During my daytime visit, only one generator was running. A few kilometers away, you can see the power line supplying Kabila’s farm, but no village benefits from it. These Congolese Tutsis, rooted in Masisi since time immemorial, have been driven from their lands three times in thirty years, the most recent being less than two years ago. They have been massacred, their cattle stolen or killed. Why would they trust the authorities in Kinshasa or the “international community”? The M23 is their only protector, the sole guarantor of their survival. The alternative? At worst, death. At best, an undignified life in a refugee camp in a country not their own. Olivier J.P. Nduhungirehe Yolande Makolo 🇷🇼 Hege Solskinnsbakk

Alain Destexhe

19,375 Aufrufe • vor 1 Jahr

The Destruction of Dublin A 1949–52 aerial photo from the Norman Ashe Aerial Photographic Collection, which I’ve colourised and annotated in red to highlight buildings that were demolished in the years that followed. It shows the churches of Dublin and the Four Courts almost frozen in time, as the city was cleared, particularly at Wood Quay (An Ché Adhmaid), to make way for a new Dublin Corporation (now Dublin City Council) office development on a four-acre site in front of Christchurch Cathedral: a riverside area of Dublin that was once a site of Viking settlement. In September 1978, a protest drew 20,000 people, including former President of Ireland Mary Robinson and poet Thomas Kinsella, to oppose the development. However, the effort was ultimately unsuccessful. #Dublin #Ireland #Heritage #HeritageAtRisk #HousingCrisis #DerelictIreland
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The Destruction of Dublin A 1949–52 aerial photo from the Norman Ashe Aerial Photographic Collection, which I’ve colourised and annotated in red to highlight buildings that were demolished in the years that followed. It shows the churches of Dublin and the Four Courts almost frozen in time, as the city was cleared, particularly at Wood Quay (An Ché Adhmaid), to make way for a new Dublin Corporation (now Dublin City Council) office development on a four-acre site in front of Christchurch Cathedral: a riverside area of Dublin that was once a site of Viking settlement. In September 1978, a protest drew 20,000 people, including former President of Ireland Mary Robinson and poet Thomas Kinsella, to oppose the development. However, the effort was ultimately unsuccessful. #Dublin #Ireland #Heritage #HeritageAtRisk #HousingCrisis #DerelictIreland

Rob Cross

17,109 Aufrufe • vor 1 Monat

THE VIKINGS 🪓🔥 Part IX 🧵 THE THOUSAND YEARS LONG NIGHT 🗡️🌒 In the fading glow of the Viking Age rose one final flame - Harald III («Harald Hardrada»), known as the last great Viking king of Norway. Descending from Harald Fairhair of the Ulvungar bloodline. Ruling from 1046 until his death in 1066, this towering warrior carried the untamed spirit of the old North. After years in exile he had served as a legendary commander of the Varangian Guard in Constantinople, amassed great wealth across distant lands, and returned to claim the throne. Yet his final journey ended on English soil at the Battle of Stamford Bridge in 1066. With his fall, the long and glorious chapter of the Viking Age drew to a close. With the old temples silenced and the sacred groves cut down, a long shadow began to fall over the Land of the North. The first hundred years after the year 1000 AD were marked by open violence. Kings and bishops worked together to crush resistance. Those who clung to the old ways faced harsh punishment, exile, or death. Sacred sites were destroyed, ancient festivals forbidden, and the spirit of the people was deliberately broken. This was no gentle conversion to Christianity. It was a calculated campaign to shatter the proud heart of the people of the North. The Church had found its Trojan horse. Once its power was established, the violence slowly changed form. It became structural. Heavy taxes, Church-controlled laws, and strict control over daily life replaced open force. The independent spirit of the Vikings, which had once carried them across oceans and into new lands, was gradually tamed. Then came the Black Death. In 1349, death arrived on English ships said to be owned and guided by those connected to the old Khazarian bloodlines. The plague struck Norway with terrible force, killing more than half the population. Farms stood empty, knowledge was lost, and the land grew weak. As Viking power waned, Khazarian influence began to grow across Europe. When the Vikings defeated and destroyed the Khazarian Empire in year 965, the Khazarians flowed westward into the lands of Germany, Poland, and Lithuania, and later also to Denmark. Over time they found their way into Norway, changing their names to sound Norwegian and Danish. The Khazarians carried a deep and enduring hatred against the Vikings. Over the long night that followed, their descendants - moving slowly and quietly through Europe - appeared ever more determined to crush what remained of Viking strength and independence. What had begun with the Church’s Trojan horse was continued by these hidden hands. The proud, ancient tribes of the Land of the North were slowly brought under foreign influence and subdued. For five hundred years the transformation continued, until Norway passed under Danish rule in 1537. The once-mighty Viking heartland became a puppet state in a union with Denmark, lasting until 1814. In 1814, following the great upheavals of the Napoleonic Wars, Denmark was compelled to surrender Norway to Sweden. What had once been an ancient and proud kingdom was passed from one foreign crown to another, as a piece of property. Yet Denmark retained Greenland - the distant and mysterious land first settled by the Vikings under Erik the Red more than eight hundred years earlier - keeping this ancient outpost that had belonged to Norway since the dawn of the Viking Age. Under foreign rulers and Khazarian elites, the independent spirit that had guarded the sacred bloodline of Jesus and Mary Magdalene for centuries was pushed ever deeper into hiding, and eventually it was forgotten by those who carried it. Yet even in the shadows, something ancient refused to die. The fire in the souls of the real Viking descendants moved deeper, waiting for the time when it would be needed again. ⚔️🩸🪓
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THE VIKINGS 🪓🔥 Part IX 🧵 THE THOUSAND YEARS LONG NIGHT 🗡️🌒 In the fading glow of the Viking Age rose one final flame - Harald III («Harald Hardrada»), known as the last great Viking king of Norway. Descending from Harald Fairhair of the Ulvungar bloodline. Ruling from 1046 until his death in 1066, this towering warrior carried the untamed spirit of the old North. After years in exile he had served as a legendary commander of the Varangian Guard in Constantinople, amassed great wealth across distant lands, and returned to claim the throne. Yet his final journey ended on English soil at the Battle of Stamford Bridge in 1066. With his fall, the long and glorious chapter of the Viking Age drew to a close. With the old temples silenced and the sacred groves cut down, a long shadow began to fall over the Land of the North. The first hundred years after the year 1000 AD were marked by open violence. Kings and bishops worked together to crush resistance. Those who clung to the old ways faced harsh punishment, exile, or death. Sacred sites were destroyed, ancient festivals forbidden, and the spirit of the people was deliberately broken. This was no gentle conversion to Christianity. It was a calculated campaign to shatter the proud heart of the people of the North. The Church had found its Trojan horse. Once its power was established, the violence slowly changed form. It became structural. Heavy taxes, Church-controlled laws, and strict control over daily life replaced open force. The independent spirit of the Vikings, which had once carried them across oceans and into new lands, was gradually tamed. Then came the Black Death. In 1349, death arrived on English ships said to be owned and guided by those connected to the old Khazarian bloodlines. The plague struck Norway with terrible force, killing more than half the population. Farms stood empty, knowledge was lost, and the land grew weak. As Viking power waned, Khazarian influence began to grow across Europe. When the Vikings defeated and destroyed the Khazarian Empire in year 965, the Khazarians flowed westward into the lands of Germany, Poland, and Lithuania, and later also to Denmark. Over time they found their way into Norway, changing their names to sound Norwegian and Danish. The Khazarians carried a deep and enduring hatred against the Vikings. Over the long night that followed, their descendants - moving slowly and quietly through Europe - appeared ever more determined to crush what remained of Viking strength and independence. What had begun with the Church’s Trojan horse was continued by these hidden hands. The proud, ancient tribes of the Land of the North were slowly brought under foreign influence and subdued. For five hundred years the transformation continued, until Norway passed under Danish rule in 1537. The once-mighty Viking heartland became a puppet state in a union with Denmark, lasting until 1814. In 1814, following the great upheavals of the Napoleonic Wars, Denmark was compelled to surrender Norway to Sweden. What had once been an ancient and proud kingdom was passed from one foreign crown to another, as a piece of property. Yet Denmark retained Greenland - the distant and mysterious land first settled by the Vikings under Erik the Red more than eight hundred years earlier - keeping this ancient outpost that had belonged to Norway since the dawn of the Viking Age. Under foreign rulers and Khazarian elites, the independent spirit that had guarded the sacred bloodline of Jesus and Mary Magdalene for centuries was pushed ever deeper into hiding, and eventually it was forgotten by those who carried it. Yet even in the shadows, something ancient refused to die. The fire in the souls of the real Viking descendants moved deeper, waiting for the time when it would be needed again. ⚔️🩸🪓

Bendleruschka

11,951 Aufrufe • vor 1 Monat

In the 1970s, Tippi Hedren and Noel Marshall, moved by the beauty of big cats during a trip to Africa, set out to raise awareness through a film called *Roar*. They chose to use real, untrained lions, tigers, leopards, and cheetahs instead of special effects, believing it would give a genuine view of these animals. Their home in California became a makeshift sanctuary where over 70 big cats lived, creating a chaotic and unpredictable environment. This led to numerous incidents, like a tiger leaping through a window, frequent injuries, and destruction of property. Despite these dangers, Tippi and Noel saw it as a way to show the public the majesty and the need for conservation of these animals. Unfortunately, the film's production was fraught with problems. Many cast and crew members, including the family, were injured by the animals. The movie *Roar* was eventually completed and released in 1981, but it became a financial failure. It is remembered more for the chaotic and hazardous conditions during its making rather than for its intended message about wildlife conservation.
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In the 1970s, Tippi Hedren and Noel Marshall, moved by the beauty of big cats during a trip to Africa, set out to raise awareness through a film called *Roar*. They chose to use real, untrained lions, tigers, leopards, and cheetahs instead of special effects, believing it would give a genuine view of these animals. Their home in California became a makeshift sanctuary where over 70 big cats lived, creating a chaotic and unpredictable environment. This led to numerous incidents, like a tiger leaping through a window, frequent injuries, and destruction of property. Despite these dangers, Tippi and Noel saw it as a way to show the public the majesty and the need for conservation of these animals. Unfortunately, the film's production was fraught with problems. Many cast and crew members, including the family, were injured by the animals. The movie *Roar* was eventually completed and released in 1981, but it became a financial failure. It is remembered more for the chaotic and hazardous conditions during its making rather than for its intended message about wildlife conservation.

Historic Vids

696,210 Aufrufe • vor 1 Jahr