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622 results for “rockfeels”
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@rockfeels Sorry, no. I haven't thought out a general strategy for news yet, too busy opining and being a goofball.
Maybe #GaSenRunoff?
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MSU has suspended all classes for Tuesday in the wake of today’s shooting on campus
how many more people will be brutally shot to death before 2A fanatics accept the need for common sense gun laws??
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CW: gun violence - active shooter
active shooter at Michigan State University student union building
#MSUshooting #MSU #MichiganState #GunViolence #news
live coverage:
https://www.cnn.com/us/live-news/michigan-state-university-shooting-updates-2-13-23/index.html
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HIGHLY recommend listening to Rachel Maddow’s new podcast “Ultra” outlining the biggest sedition plot in US history
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covering the origins of #AmericaFirst and the organized attempts to *violently* overthrow the US government and replace it with a #nazi government…“Never Forget” means we also need to learn about the coverups that historical records have hidden from us.
#UltraVires #podcasts #histodon
🔗 https://open.spotify.com/episode/67NmSC8c9MDlyiwgnkoKhl?si=ppe8pFuhRZ6_z1bZI_yVjw -
"This is the result of living in this country. A country's champion with kilos of medals for this country. Worked hard to make this country proud. They pepper sprayed him and demolished a 39 sqm house and left. What can I say?"
#iran #ElnazRekabi #ZanZendegiAzadi
https://www.cnn.com/2022/12/02/middleeast/iran-climber-home-intl/index.html -
And a rock feels no pain
And an island never cries #SpeakerOfTheHouse #KevinMcCarthy #Round10 -
And a rock feels no pain
And an island never cries #SpeakerOfTheHouse #KevinMcCarthy #Round10 -
And a rock feels no pain
And an island never cries #SpeakerOfTheHouse #KevinMcCarthy #Round10 -
And a rock feels no pain
And an island never cries #SpeakerOfTheHouse #KevinMcCarthy #Round10 -
And a rock feels no pain
And an island never cries #SpeakerOfTheHouse #KevinMcCarthy #Round10 -
Sometimes my monthly playlists lean more to alt rock or indie music, but this one's firmly in the punk rock camp, covering hardcore, pop-punk, ska-punk, street punk, proto-punk and indie punk - basically, most of the punks.
Alongside that there’s still room for some warm early 90s alt rock feels, lo-fi 00s garage rock and modern post-punk.
https://open.substack.com/pub/tangleofwires/p/fighting-with-the-undertow-7
#music #playlist #playlists #punk #PunkRock #shoegaze #shoegazing #HardcorePunk #PunkHardcore #AltRock #AlternativeRock #IndieMusic
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By Angry Metal Guy
Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.
Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.
When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.
Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.
The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.
Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.
Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal
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By Angry Metal Guy
Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.
Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.
When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.
Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.
The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.
Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.
Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal
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By Angry Metal Guy
Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.
Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.
When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.
Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.
The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.
Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.
Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal
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By Angry Metal Guy
Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.
Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.
When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.
Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.
The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.
Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.
Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal
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🦟🧲 Scientists at #Rockefeller University found that high levels of carboxylic acids on the skin make certain individuals #mosquito magnets. The chemical signatures remain consistent over years regardless of changes in #diet or hygiene habits.
👉 https://phys.org/news/2026-05-people-mosquito-magnets-clues-emerging.html
#biology #entomology #mosquitos #health #science #chemistry #genetics #insects #research #nature #medicine
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🦟🧲 Scientists at #Rockefeller University found that high levels of carboxylic acids on the skin make certain individuals #mosquito magnets. The chemical signatures remain consistent over years regardless of changes in #diet or hygiene habits.
👉 https://phys.org/news/2026-05-people-mosquito-magnets-clues-emerging.html
#biology #entomology #mosquitos #health #science #chemistry #genetics #insects #research #nature #medicine
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🦟🧲 Scientists at #Rockefeller University found that high levels of carboxylic acids on the skin make certain individuals #mosquito magnets. The chemical signatures remain consistent over years regardless of changes in #diet or hygiene habits.
👉 https://phys.org/news/2026-05-people-mosquito-magnets-clues-emerging.html
#biology #entomology #mosquitos #health #science #chemistry #genetics #insects #research #nature #medicine
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🦟🧲 Scientists at #Rockefeller University found that high levels of carboxylic acids on the skin make certain individuals #mosquito magnets. The chemical signatures remain consistent over years regardless of changes in #diet or hygiene habits.
👉 https://phys.org/news/2026-05-people-mosquito-magnets-clues-emerging.html
#biology #entomology #mosquitos #health #science #chemistry #genetics #insects #research #nature #medicine
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“Rockefeller Center Christmas”🎄⛸️
New artwork- Prints, framed art, home decor items & more available
> https://cac-graphics.pixels.com/featured/rockefeller-center-christmas-cac-graphics.html
#Christmas #ChristmasTree #NewYork #NYC #artforsale #art #prints #wallart #puzzles #gifts #homedecor #mondayvibes -
City Beautiful blog examines the Time mural at Rockefeller Center by Spanish artist Jose Maria Sert which replaced Diego Rivera's destroyed "Man at the Crossroads." The piece analyzes how the Sert mural reflects different political and artistic values, offering insights into art, patronage, and ideological conflicts in 1930s America.
#RockefellerCenter #ArtHistory #PublicArt #Murals #NYCHistory #DiegoRivera #CityBeautiful
https://citybeautifulblog.com/the-rockefeller-center-artworks-time-mural/ -
With reference to … This Is How Meta AI Staffers Deemed More Than 7 Million Books to Have No “Economic Value” https://www.vanityfair.com/news/story/meta-ai-lawsuit (via https://wandering.shop/@jwilker/114353879701813415):
"Robber baron" is a pejorative term used to describe powerful and wealthy American industrialists and financiers during the late 19th century, an era often referred to as the Gilded Age. The term implies social criticism, suggesting these businessmen were unethical, unscrupulous, or ruthless in their practices.
They were accused of amassing their fortunes through exploitative methods, such as monopolizing large industries (often by forming trusts), restricting output to raise prices, exploiting workers through practices like wage slavery, engaging in unethical business dealings, squashing competition, and influencing government officials. The term combines the idea of criminal behavior ("robber") with illegitimate aristocracy ("baron").
Some prominent figures commonly labeled as robber barons include John D. #Rockefeller, Andrew #Carnegie, Cornelius #Vanderbilt, J.P. #Morgan, and Leland #Stanford, among others.
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Birth of Modern Medicine- The Dark Truth about Rockefeller - YouTube
https://www.youtube.com/watch?v=oYn87KZfnwE#Rockefeller #petrolium #medicine #alternative #pharmaceutical #AMA #herbs #plants #diet #cancer #AmericanCancerSociety #propaganda
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Hello.
Reinhard Gahlen (Nazi Intel) and Allan Dulles (CIA) were classmates at Oxford University (law), and both went to work at Sullivan and Cromwell law firm.
Both negotiated a $250 million dollar loan from the #Rockefellers in 1933 for the #German government to be repaid in gold when the war was over. -
The proof in the pudding is that CIA pioneer Allen #Dulles was in fact a finance big wig himself, connected directly to the Rockefellers and huge firms like JP #Morgan. Thanks to this, the first official headquarters of the CIA was in #Rockefeller Plaza in NYC, where Dulles also had his office. Thus, the Rockefellers and global financial interests, which were mostly run by Jewish-Zionist banking families, had total control of the CIA from the very beginning, and do so to this day. Most consider the Rockefellers themselves to simply be the American ‘agents’ for House #Rothschild, who pretty much created Israel via the Balfour Declaration, and famous photos attest to them at least being close:
https://simplicius76.substack.com/p/subscriber-mailbag-answers-72824
#history #pilitics #ukraine #USA #US #american #Trump #finance #money #Israel #CIA #Chabad #jews #zionism #deepstate -
It was reporters and editors for the hundreds of independent newspapers during the First Gilded Age (1880-1900) era that led the crusades against #Rockefeller and his fellow #monopolists.
Investigative journalism was all the rage then, and it fed public demand for a return to #competition and the de-throning of that age’s #oligarchs.
The vast majority of workers were struggling and they worked for a very small 10 percent of the population who controlled most of the nation’s wealth (a situation we’re at again). The result was constant strife, #strikes, and the murder of labor leaders;
entire towns were in arms (and sometimes ablaze) with #labor conflict.The “problem of labor”was the number one issue of the day.
As President Grover Cleveland
— the only Democrat elected during that period
— proclaimed in his 1887 State of the Union address:“As we view the achievements of aggregated capital, we discover the existence of trusts, combinations, and monopolies,
🆘 while the citizen is struggling far in the rear or is trampled to death beneath an iron heel.
⚠️Corporations, which should be the carefully restrained creatures of the law and the servants of the people, are fast becoming the people’s masters.”... But back to Jeff #Bezos and his 2013 purchase of The #Washington #Post.
https://hartmannreport.com/p/democracy-dies-in-their-wallets-when-ec9
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Sorry, es gibt keine Schnäppchen.
Schnäppchen habe immer einen Haken.Entweder ist da viel Werbung drauf oder die Folgekosten sind hoch, wie z.B beim 80€ Drucker wo die Tinte teurer als Gold ist.
Solche Praktiken wusste schon #Rockefeller auszunutzen.
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@mimikama
Interessante Familiengeschichte: Vater war "Kräuterdoktor" und Quacksalber. Sohn John D. #Rockefeller war tatsächlich ein Großmeister von Verschwörungen und Sucht spielt auch'ne Rolle: Verschwörungen dienten der Monopolisierung des Ölgeschäfts, z.B. durch Rabatte beim Eisenbahntransport. Als Rockefeller die ganze Wertschöpfungskette übernommen und den Weltmarkt dominiert hatte, waren alle süchtig nach Ölprodukten ("Standard Oil", Abk. SO ausgesprochen Esso).
https://de.wikipedia.org/wiki/Standard_Oil_Company -
[PARUTION]
Multinationales. Une histoire du monde contemporain
De John D. #Rockefeller à Elon #Musk, de IG Farben au #Roundup, de la machine à coudre Singer à l'#iPhone, une fresque historique et critique avec des contributions de plus de 50 auteurs et autrices aux éditions La Découverte
En librairie ce jeudi 13 février
Co-production Observatoire des multinationales et @bastamedia