ainawgsd:

Tiny Tuesday

[x]

@timid-tracks

1five1two:

The figure of Melusine, at the 16th century sculpture garden of Bomarzo, Italy.

brokehorrorfan:

B-movie maven Andy Sidaris’ career may have peaked with 1987’s Hard Ticket to Hawaii - in terms of both notoriety and the successful execution of his formula - but his so-called “Bullets, Bombs, and Babes” series continued for another decade after that. The next two entries, 1988’s Picasso Trigger and 1989’s Savage Beach, can’t live up to his previous mashup of sleaze and cheese, but they certainly try their damnedest.

In a career full of vapid yet overly convoluted plots, Picasso Trigger may be Sidaris’ most impossible to follow. Playmates Dona Speir, Hope Marie Carlton, and Cynthia Brimhall reprise their roles as secret agents from Hard Ticket to Hawaii. This time, they’re tasked with bringing down a fugitive whose laundry list of lawlessness include an international crime syndicate, assassination, smuggling, money laundering, white slavery, double crossing, snuff films, and more crime mumbo jumbo.

Keep reading

communistsloth:

lenins-and-things:

fromacomrade:

https://iww.org/

EAT. THE. RICH.

To say capitalism is broken would be mistaken. Capitalism is working as intended, it just was never intended to work for us.

poblacht-na-n-oibrithe:

millennial-review:

workingclasshistory:

Today, 30 July, is the 5th anniversary of the start of the Working Class History project! So we are launching a birthday appeal to try to make WCH sustainable in the long-term.
We started from a tiny page 5 years ago, posting a small number of anniversaries, mostly about white male workers in the US and UK. By 2018 we grew to over 100k followers. We then started a patreon which has enabled us to grow into a podcast and multi-channel social media project with over 360k followers, with diverse and global content which is seen or listened to around 11 million times a month.
Patreon is a platform which enables projects like ours to get financial support from our listeners/readers. In return patrons get exclusive content like early access to podcast episodes, bonus podcast episodes, and more..
To keep expanding, and improve our podcast, our tiny core team have been taking time off from our day jobs throughout 2019. Due to our financial circumstances (namely, we have to pay rent, bills and buy food) we are only going to be able to keep spending this amount of time working on WCH for a year. If we are to continue putting as much time and effort into the podcast, researching them, finding guests and writing scripts and narrative, and keep researching new and more diverse people’s history, as well as working on numerous other projects, we need more support from you, our readers/listeners.
If just 1000 people (less than 0.3%) of our followers supported us, then our project will be sustainable in the long-term. We will be able to remunerate our core team with an amount around the minimum wage, which will enable us to continue spending as much time as we are now, and will be able to develop more projects like translations and a massive website with timelines and maps.
So if you appreciate what we do, and want to see us keep up our work educating and inspiring a new generation of activists, then please do consider joining us on patreon: https://patreon.com/workingclasshistory https://www.facebook.com/workingclasshistory/photos/a.296224173896073/1177786995739782/?type=3

egypt-museum:

“Throughout their long history, the ancient Egyptians crafted luminous statues of bronze, copper, silver, and gold for use in interactions with their gods—from ritual dramas enacted in the inner sanctuaries of temples to festival processions and celebrations attended by the multitudes. This volume, which accompanies an exhibition at The Metropolitan Museum of Art, is the first to focus on the art and significance of Egyptian metal statuary. Marshaling fresh insights to present a new appreciation of this lustrous work, the authors trace continuities in the development of the statuary, illuminate how its production was integrated within artistic and social structures, and examine its potential role in ritual practice.

Metal statuary offers a surprising view of Egyptian art because the cultural, social, and manufacturing networks from which it emerged were often different from those that produced stone statuary, the more familiar artistic expression of ancient Egypt. In the presence of these extraordinary images of gods and pious individuals, the temples, in particular, emerge as crucibles in which diverse influences came together to replenish the art and beliefs of Egyptian society. The superb statues and statuettes illustrated in this volume were made in a variety of precious metals and copper alloys over a span of some two millennia. Especially dramatic are those from the Third Intermediate Period (ca. 1070–664 B.C.), an era whose conventional name belies its great artistic accomplishment. The splendid statuary from this period, the apogee of the Egyptian metalworking tradition, is perhaps best represented by the sumptuous figure of a priestess and noblewoman named “Takushit,” whose entire body surface is covered with texts and depictions of god intricately inlaid with thin strips of precious metal.”

— Gifts for the Gods: Images from Egyptian Temples

posterframe:

Invasion of the Star Creatures (1962)