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1000 results for “that_marouk_ish”
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anyone have tips on finding trending/popular #hashtags on #mastodon? In a way it's better not to have a list so people don't #hashbomb #all #the #things but on the other hand... hashtags are such a big part of discoverability here that I feel like I'm doing it wrong by just waiting to see the right one that I'm interested pop up. Like should I be following #catsofmastodon or #Caturday or #cats
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anyone have tips on finding trending/popular #hashtags on #mastodon? In a way it's better not to have a list so people don't #hashbomb #all #the #things but on the other hand... hashtags are such a big part of discoverability here that I feel like I'm doing it wrong by just waiting to see the right one that I'm interested pop up. Like should I be following #catsofmastodon or #Caturday or #cats
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anyone have tips on finding trending/popular #hashtags on #mastodon? In a way it's better not to have a list so people don't #hashbomb #all #the #things but on the other hand... hashtags are such a big part of discoverability here that I feel like I'm doing it wrong by just waiting to see the right one that I'm interested pop up. Like should I be following #catsofmastodon or #Caturday or #cats
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anyone have tips on finding trending/popular #hashtags on #mastodon? In a way it's better not to have a list so people don't #hashbomb #all #the #things but on the other hand... hashtags are such a big part of discoverability here that I feel like I'm doing it wrong by just waiting to see the right one that I'm interested pop up. Like should I be following #catsofmastodon or #Caturday or #cats
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#project2033 watch holder #projectLog here is the current iteration for the garmin forerunner 245 watch holder #3dprinting #design #maker #hacker #fusion360 #diy -- but there are some problems with the current model ..
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#project2033 watch holder #projectLog here is the current iteration for the garmin forerunner 245 watch holder #3dprinting #design #maker #hacker #fusion360 #diy -- but there are some problems with the current model ..
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#project2033 #projectLog 3D printed the first test run for my garmin sports watch holder, added a through hole for the charging cable and an inset divet for the heart rate monitor sensor which extrudes 2mm on the back #3dprinting #maker #hackerspace #makerspace
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#project2033 #projectLog 3D printed the first test run for my garmin sports watch holder, added a through hole for the charging cable and an inset divet for the heart rate monitor sensor which extrudes 2mm on the back #3dprinting #maker #hackerspace #makerspace
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#project2033 #projectLog 3D printed the first test run for my garmin sports watch holder, added a through hole for the charging cable and an inset divet for the heart rate monitor sensor which extrudes 2mm on the back #3dprinting #maker #hackerspace #makerspace
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I did another post about boycotting and cancelling a Marduk live for being a Nazi band, but many people reacted and responded that they are NOT NSBM, they are just sketchy and misunderstood, because they play gigs with other NS bands. Therefore, I am making a post with evidence, in order to leave no doubt to Marduk sympathizers.
So, apart from their bassist who felt comfortable to do the Nazi salute on their live recently and the fact that two Marduk's members were financially aiding Neonazi party "Nordic Resistance Movement", let's take a look in the theme, imagery and lyrics of their album "Viktoria" which was released in 2018 (quite recently).
- 1. "Werwolf". Lyrics:
"One single motto:
'Conquer or die!'
Our only hope is Werwolf!"
These lyrics are not just a reference, but almost the same lyrics of a propaganda song of "Werwolf" Nazi plan (the original: "A single motto remains for us: 'Conquer or die.'").
- 3. "Equestrian Bloodlust". Lyrics:
"Florian Geyer - pray and death will come
Partisans bent down in fright
deprived of courage and ready for death"
This is a praise to 8th SS Cavalry Division "Florian Geyer" while killing Partisans.
- 4. "Tiger I". Lyrics:
"Guardians of the Reich
iron stars burning bright
Glorious iron sun
Panzer VI - Tiger I"
A glorification of "Tiger I" Nazi tank.
- 7. "Viktoria". You can just watch the Nazi imagery in the official Video Clip. They used video footage of the Hitler Youth, playing their famous snare drum. The lyric "tough as leather and hard as Krupp steel" is a reference to Krupp, a German company who made tanks and guns for the Nazis during the WWII.
- 9. "Silent Night". Lyrics:
"Silent night, holy night
All is calm, all is bright
Kampfgruppe advancing
in burning bridges light"
As per Wikipedia: the term Kampfgruppe can refer to a combat formation of any kind, but most usually to that employed by the Wehrmacht of Nazi Germany.
Any more doubts that Marduk is a NSBM band?
#Marduk #BlackMetal #Metal #Nazis #NSBM #Antinazi -
https://www.youtube.com/live/vKtECuwnfpU
Laith Marouf claims that #AlJazeera is complicit in promoting #israel #usa #uk propaganda, and has been instrumental in poisoning the #arab #solidarity in #WestAsia.
He presents facts which AlJazeera erases in its coverage of the region which help provide a more comprehensive understanding of the occupation of #palestine, and the #resistance against it. He also mentions the role it played in #ArabSpring widely belived to be a form of #colorrevolution. -
I was wondering why iran wasn't helping #Lebanon defend against the ceasefire violations
But L marouf mentioned that #Hizbollah told #Iran they didn't need it
Lebanon, again, punching WAY above its weight
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Graceless – Icons Of Ruin Review
By Steel Druhm
Dutch death crew Graceless have been plowing the bone fields once loyal to Bolt Thrower, Hail of Bullets, and Asphyx since their eruption on the scene in 2017. What followed was a series of high-quality platters of relentlessly heavy music designed to push your cadaver deeper into the mud of No Man’s Land. Holdeneye lavished praise on 2020s Where Vultures Know Your Name and 2022s Chants from Purgatory, while noting the tendency for Graceless to cling too tightly to their influences. And they certainly did seem happy to dwell in that heavy yet melancholic space we’ve heard before, with atmospheric embellishments that evoke the works of 1914. Stepping in for Holdeneye this time, I expected another big dose of tank-treadcore and I’m always up for the battle. While there’s some of that on 4th album, Icons of Ruin, Graceless have expanded their sound palette this time, with Goth and Swedeath elements creeping in. Will this modification stall their IV Crusade or be the blueprint …for victory?
The Graceless I expected to hear hits the beach hard on opener “God Shines in Absence,” with a fullsade of aggressive, beefy riffs powering an urgent death metal attack. Yes, it reeks of Bolt Thrower, but not so closely as to be mere homage. It’s ripping, rousing stuff that will have you strapping on the 1911 and K-Bar and getting your ass in the fucking trench. This is the caveman bully-boy shit I came for. “Sanctified Slaughter” keeps the momentum pressing forward with big power-chugging riffs that you can almost imagine giving off blasts of diesel smoke as they cut through the muck and mire. It’s rudimentary but heavy, brutish fun and made for a gym playlist. From that point on, Icons of Ruin gets wobbly. Where “Lash Me to My Painful Death” successfully goes for an atmospheric and grinding blackened approach that veers toward Marduk and 1914, “Hardening of the Heart” crams a heavy dose of Goth aesthetics into the mortar tube. It reminds me of the Amok era of Sentenced, which I certainly did not expect. It has an upbeat, soft-rocking energy that doesn’t fit with Remco Kreft’s ragged death roars. Add some melodic guitar plucking that sounds like early days Testament, and you get an odd duck of a track that sticks out amid the heavier fare like a rhino turd on a snow cone.
The back half of Icons settles back into a more predictable death onslaught, but not a lot of it feels essential. Track after track goes by without leaving a major impression. None are awful, but very little grabs me and shakes my brain with bestial relish. “Rise of the Blackest Sun” fares best with a slowly building momentum and a strong Just Before Dawn-esque attack spearheaded by bruising, burly riffs. Things wind out with the fairly weak, d-beat-y “Resurrection of the Graveless,” leaving the listener with the nagging feeling that something is missing. The overreliance on mid-tempo chugs and plods takes its toll, too, resulting in Icons feeling like a significant fall-off from prior releases, both intensity and songwriting-wise. There’s good stuff scattered over the 46-minute runtime, but there’s a lot of flab and flubber, too.
Graceless have kept the same lineup in place since the debut, which led to three very good death albums. I suppose the band wanted to change things up a bit style-wise this time, but the new elements don’t fully gel, and the writing feels inconsistent and, at times, staid and flat. I’m a big fan of Remco’s vocals, and he does fine as usual, splitting the difference between Martin van Drunen and Karl Willetts. Björn Brusse delivers powerhouse riffs at times as he toys with death and doom idioms, even invoking the ghosts of vintage Candlemass on “Beneath Starless Skies.” However, a lot of his playing feels lighter, less substantial, and less compelling here. Good grooves and doomy harmonies dot the landscape, but don’t always result in memorable songs. While his tendency to overuse mid-tempo ploddery worked on past albums, it doesn’t here
Icons of Ruin is the first Graceless album to underwhelm me. Maybe the next time out, they’ll smooth out the rough edges and make the new elements fit in the war machine, but this one feels like an awkward transition phase between the band we knew and whatever comes next. It’s also not as heavy as I expected or wanted, with more emphasis on mood and less on cracking ribs. I’ll give grace to Graceless due to their past heroics, but I’m expecting MOAR next time. Happy tank trails.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: graceless-deathmetal.bandcamp.com | facebook.com/graceless.osdm | instagram.com/graceless.deathmetal
Releases Worldwide: May 30th, 2025#1914 #25 #2025 #Asphyx #BoltThrower #ChantsFromPurgatory #DeathMetal #DutchMetal #HailOfBullets #IconsOfRuin #ListenableRecords #May25 #Review #Reviews #WhereVulturesKnowYourName
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Graceless – Icons Of Ruin Review
By Steel Druhm
Dutch death crew Graceless have been plowing the bone fields once loyal to Bolt Thrower, Hail of Bullets, and Asphyx since their eruption on the scene in 2017. What followed was a series of high-quality platters of relentlessly heavy music designed to push your cadaver deeper into the mud of No Man’s Land. Holdeneye lavished praise on 2020s Where Vultures Know Your Name and 2022s Chants from Purgatory, while noting the tendency for Graceless to cling too tightly to their influences. And they certainly did seem happy to dwell in that heavy yet melancholic space we’ve heard before, with atmospheric embellishments that evoke the works of 1914. Stepping in for Holdeneye this time, I expected another big dose of tank-treadcore and I’m always up for the battle. While there’s some of that on 4th album, Icons of Ruin, Graceless have expanded their sound palette this time, with Goth and Swedeath elements creeping in. Will this modification stall their IV Crusade or be the blueprint …for victory?
The Graceless I expected to hear hits the beach hard on opener “God Shines in Absence,” with a fullsade of aggressive, beefy riffs powering an urgent death metal attack. Yes, it reeks of Bolt Thrower, but not so closely as to be mere homage. It’s ripping, rousing stuff that will have you strapping on the 1911 and K-Bar and getting your ass in the fucking trench. This is the caveman bully-boy shit I came for. “Sanctified Slaughter” keeps the momentum pressing forward with big power-chugging riffs that you can almost imagine giving off blasts of diesel smoke as they cut through the muck and mire. It’s rudimentary but heavy, brutish fun and made for a gym playlist. From that point on, Icons of Ruin gets wobbly. Where “Lash Me to My Painful Death” successfully goes for an atmospheric and grinding blackened approach that veers toward Marduk and 1914, “Hardening of the Heart” crams a heavy dose of Goth aesthetics into the mortar tube. It reminds me of the Amok era of Sentenced, which I certainly did not expect. It has an upbeat, soft-rocking energy that doesn’t fit with Remco Kreft’s ragged death roars. Add some melodic guitar plucking that sounds like early days Testament, and you get an odd duck of a track that sticks out amid the heavier fare like a rhino turd on a snow cone.
The back half of Icons settles back into a more predictable death onslaught, but not a lot of it feels essential. Track after track goes by without leaving a major impression. None are awful, but very little grabs me and shakes my brain with bestial relish. “Rise of the Blackest Sun” fares best with a slowly building momentum and a strong Just Before Dawn-esque attack spearheaded by bruising, burly riffs. Things wind out with the fairly weak, d-beat-y “Resurrection of the Graveless,” leaving the listener with the nagging feeling that something is missing. The overreliance on mid-tempo chugs and plods takes its toll, too, resulting in Icons feeling like a significant fall-off from prior releases, both intensity and songwriting-wise. There’s good stuff scattered over the 46-minute runtime, but there’s a lot of flab and flubber, too.
Graceless have kept the same lineup in place since the debut, which led to three very good death albums. I suppose the band wanted to change things up a bit style-wise this time, but the new elements don’t fully gel, and the writing feels inconsistent and, at times, staid and flat. I’m a big fan of Remco’s vocals, and he does fine as usual, splitting the difference between Martin van Drunen and Karl Willetts. Björn Brusse delivers powerhouse riffs at times as he toys with death and doom idioms, even invoking the ghosts of vintage Candlemass on “Beneath Starless Skies.” However, a lot of his playing feels lighter, less substantial, and less compelling here. Good grooves and doomy harmonies dot the landscape, but don’t always result in memorable songs. While his tendency to overuse mid-tempo ploddery worked on past albums, it doesn’t here
Icons of Ruin is the first Graceless album to underwhelm me. Maybe the next time out, they’ll smooth out the rough edges and make the new elements fit in the war machine, but this one feels like an awkward transition phase between the band we knew and whatever comes next. It’s also not as heavy as I expected or wanted, with more emphasis on mood and less on cracking ribs. I’ll give grace to Graceless due to their past heroics, but I’m expecting MOAR next time. Happy tank trails.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: graceless-deathmetal.bandcamp.com | facebook.com/graceless.osdm | instagram.com/graceless.deathmetal
Releases Worldwide: May 30th, 2025#1914 #25 #2025 #Asphyx #BoltThrower #ChantsFromPurgatory #DeathMetal #DutchMetal #HailOfBullets #IconsOfRuin #ListenableRecords #May25 #Review #Reviews #WhereVulturesKnowYourName
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Graceless – Icons Of Ruin Review
By Steel Druhm
Dutch death crew Graceless have been plowing the bone fields once loyal to Bolt Thrower, Hail of Bullets, and Asphyx since their eruption on the scene in 2017. What followed was a series of high-quality platters of relentlessly heavy music designed to push your cadaver deeper into the mud of No Man’s Land. Holdeneye lavished praise on 2020s Where Vultures Know Your Name and 2022s Chants from Purgatory, while noting the tendency for Graceless to cling too tightly to their influences. And they certainly did seem happy to dwell in that heavy yet melancholic space we’ve heard before, with atmospheric embellishments that evoke the works of 1914. Stepping in for Holdeneye this time, I expected another big dose of tank-treadcore and I’m always up for the battle. While there’s some of that on 4th album, Icons of Ruin, Graceless have expanded their sound palette this time, with Goth and Swedeath elements creeping in. Will this modification stall their IV Crusade or be the blueprint …for victory?
The Graceless I expected to hear hits the beach hard on opener “God Shines in Absence,” with a fullsade of aggressive, beefy riffs powering an urgent death metal attack. Yes, it reeks of Bolt Thrower, but not so closely as to be mere homage. It’s ripping, rousing stuff that will have you strapping on the 1911 and K-Bar and getting your ass in the fucking trench. This is the caveman bully-boy shit I came for. “Sanctified Slaughter” keeps the momentum pressing forward with big power-chugging riffs that you can almost imagine giving off blasts of diesel smoke as they cut through the muck and mire. It’s rudimentary but heavy, brutish fun and made for a gym playlist. From that point on, Icons of Ruin gets wobbly. Where “Lash Me to My Painful Death” successfully goes for an atmospheric and grinding blackened approach that veers toward Marduk and 1914, “Hardening of the Heart” crams a heavy dose of Goth aesthetics into the mortar tube. It reminds me of the Amok era of Sentenced, which I certainly did not expect. It has an upbeat, soft-rocking energy that doesn’t fit with Remco Kreft’s ragged death roars. Add some melodic guitar plucking that sounds like early days Testament, and you get an odd duck of a track that sticks out amid the heavier fare like a rhino turd on a snow cone.
The back half of Icons settles back into a more predictable death onslaught, but not a lot of it feels essential. Track after track goes by without leaving a major impression. None are awful, but very little grabs me and shakes my brain with bestial relish. “Rise of the Blackest Sun” fares best with a slowly building momentum and a strong Just Before Dawn-esque attack spearheaded by bruising, burly riffs. Things wind out with the fairly weak, d-beat-y “Resurrection of the Graveless,” leaving the listener with the nagging feeling that something is missing. The overreliance on mid-tempo chugs and plods takes its toll, too, resulting in Icons feeling like a significant fall-off from prior releases, both intensity and songwriting-wise. There’s good stuff scattered over the 46-minute runtime, but there’s a lot of flab and flubber, too.
Graceless have kept the same lineup in place since the debut, which led to three very good death albums. I suppose the band wanted to change things up a bit style-wise this time, but the new elements don’t fully gel, and the writing feels inconsistent and, at times, staid and flat. I’m a big fan of Remco’s vocals, and he does fine as usual, splitting the difference between Martin van Drunen and Karl Willetts. Björn Brusse delivers powerhouse riffs at times as he toys with death and doom idioms, even invoking the ghosts of vintage Candlemass on “Beneath Starless Skies.” However, a lot of his playing feels lighter, less substantial, and less compelling here. Good grooves and doomy harmonies dot the landscape, but don’t always result in memorable songs. While his tendency to overuse mid-tempo ploddery worked on past albums, it doesn’t here
Icons of Ruin is the first Graceless album to underwhelm me. Maybe the next time out, they’ll smooth out the rough edges and make the new elements fit in the war machine, but this one feels like an awkward transition phase between the band we knew and whatever comes next. It’s also not as heavy as I expected or wanted, with more emphasis on mood and less on cracking ribs. I’ll give grace to Graceless due to their past heroics, but I’m expecting MOAR next time. Happy tank trails.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: graceless-deathmetal.bandcamp.com | facebook.com/graceless.osdm | instagram.com/graceless.deathmetal
Releases Worldwide: May 30th, 2025#1914 #25 #2025 #Asphyx #BoltThrower #ChantsFromPurgatory #DeathMetal #DutchMetal #HailOfBullets #IconsOfRuin #ListenableRecords #May25 #Review #Reviews #WhereVulturesKnowYourName
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Graceless – Icons Of Ruin Review
By Steel Druhm
Dutch death crew Graceless have been plowing the bone fields once loyal to Bolt Thrower, Hail of Bullets, and Asphyx since their eruption on the scene in 2017. What followed was a series of high-quality platters of relentlessly heavy music designed to push your cadaver deeper into the mud of No Man’s Land. Holdeneye lavished praise on 2020s Where Vultures Know Your Name and 2022s Chants from Purgatory, while noting the tendency for Graceless to cling too tightly to their influences. And they certainly did seem happy to dwell in that heavy yet melancholic space we’ve heard before, with atmospheric embellishments that evoke the works of 1914. Stepping in for Holdeneye this time, I expected another big dose of tank-treadcore and I’m always up for the battle. While there’s some of that on 4th album, Icons of Ruin, Graceless have expanded their sound palette this time, with Goth and Swedeath elements creeping in. Will this modification stall their IV Crusade or be the blueprint …for victory?
The Graceless I expected to hear hits the beach hard on opener “God Shines in Absence,” with a fullsade of aggressive, beefy riffs powering an urgent death metal attack. Yes, it reeks of Bolt Thrower, but not so closely as to be mere homage. It’s ripping, rousing stuff that will have you strapping on the 1911 and K-Bar and getting your ass in the fucking trench. This is the caveman bully-boy shit I came for. “Sanctified Slaughter” keeps the momentum pressing forward with big power-chugging riffs that you can almost imagine giving off blasts of diesel smoke as they cut through the muck and mire. It’s rudimentary but heavy, brutish fun and made for a gym playlist. From that point on, Icons of Ruin gets wobbly. Where “Lash Me to My Painful Death” successfully goes for an atmospheric and grinding blackened approach that veers toward Marduk and 1914, “Hardening of the Heart” crams a heavy dose of Goth aesthetics into the mortar tube. It reminds me of the Amok era of Sentenced, which I certainly did not expect. It has an upbeat, soft-rocking energy that doesn’t fit with Remco Kreft’s ragged death roars. Add some melodic guitar plucking that sounds like early days Testament, and you get an odd duck of a track that sticks out amid the heavier fare like a rhino turd on a snow cone.
The back half of Icons settles back into a more predictable death onslaught, but not a lot of it feels essential. Track after track goes by without leaving a major impression. None are awful, but very little grabs me and shakes my brain with bestial relish. “Rise of the Blackest Sun” fares best with a slowly building momentum and a strong Just Before Dawn-esque attack spearheaded by bruising, burly riffs. Things wind out with the fairly weak, d-beat-y “Resurrection of the Graveless,” leaving the listener with the nagging feeling that something is missing. The overreliance on mid-tempo chugs and plods takes its toll, too, resulting in Icons feeling like a significant fall-off from prior releases, both intensity and songwriting-wise. There’s good stuff scattered over the 46-minute runtime, but there’s a lot of flab and flubber, too.
Graceless have kept the same lineup in place since the debut, which led to three very good death albums. I suppose the band wanted to change things up a bit style-wise this time, but the new elements don’t fully gel, and the writing feels inconsistent and, at times, staid and flat. I’m a big fan of Remco’s vocals, and he does fine as usual, splitting the difference between Martin van Drunen and Karl Willetts. Björn Brusse delivers powerhouse riffs at times as he toys with death and doom idioms, even invoking the ghosts of vintage Candlemass on “Beneath Starless Skies.” However, a lot of his playing feels lighter, less substantial, and less compelling here. Good grooves and doomy harmonies dot the landscape, but don’t always result in memorable songs. While his tendency to overuse mid-tempo ploddery worked on past albums, it doesn’t here
Icons of Ruin is the first Graceless album to underwhelm me. Maybe the next time out, they’ll smooth out the rough edges and make the new elements fit in the war machine, but this one feels like an awkward transition phase between the band we knew and whatever comes next. It’s also not as heavy as I expected or wanted, with more emphasis on mood and less on cracking ribs. I’ll give grace to Graceless due to their past heroics, but I’m expecting MOAR next time. Happy tank trails.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: graceless-deathmetal.bandcamp.com | facebook.com/graceless.osdm | instagram.com/graceless.deathmetal
Releases Worldwide: May 30th, 2025#1914 #25 #2025 #Asphyx #BoltThrower #ChantsFromPurgatory #DeathMetal #DutchMetal #HailOfBullets #IconsOfRuin #ListenableRecords #May25 #Review #Reviews #WhereVulturesKnowYourName
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#Marduk fire bassist after on-stage Nazi salute – #kickhimout #rechtsrocktnicht
Swedish black metal band Marduk has announced that they have parted ways with their bassist Joel Lindholm after a video surfaced showing him performing a Nazi salute on stage. According to the band’s Facebook post, Lindholm’s departure was due to “intolerable stage antics” during Marduk’s performance at Incineration Fest
https://www.dokmz.com/2023/05/19/marduk-fire-bassist-after-on-stage-nazi-salute-kickhimout/
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I just published a write-up on prototype pollution and how it leads to XSS.
The key idea: you’re not injecting into the sink—you’re controlling the property lookup that eventually reaches it.
Pollute → Gadget → Sink → Execution
Includes examples and common vulnerable patterns (merge functions, __proto__, etc.)
https://medium.com/@marduk.i.am/prototype-pollution-15f47d9e5c6a
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I just published a write-up on prototype pollution and how it leads to XSS.
The key idea: you’re not injecting into the sink—you’re controlling the property lookup that eventually reaches it.
Pollute → Gadget → Sink → Execution
Includes examples and common vulnerable patterns (merge functions, __proto__, etc.)
https://medium.com/@marduk.i.am/prototype-pollution-15f47d9e5c6a
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I just published a write-up on prototype pollution and how it leads to XSS.
The key idea: you’re not injecting into the sink—you’re controlling the property lookup that eventually reaches it.
Pollute → Gadget → Sink → Execution
Includes examples and common vulnerable patterns (merge functions, __proto__, etc.)
https://medium.com/@marduk.i.am/prototype-pollution-15f47d9e5c6a
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The Reception of the Marduk Prophecy in Seventh-Century B.C. Nineveh
“This article discusses how the Marduk Prophecy was read and re-interpreted in Nineveh at that time. Between the Marduk Prophecy and the royal literature during the reign of Ashurbanipal, the following common themes can be recognized: (1) reconstruction of the Babylonian temples, above all Esagil; (2) conquest of Elam; and (3) fulfillment of divine prophecies. On the basis of these, the author proposes that in the seventh-century Nineveh the Marduk Prophecy was regarded as an authentic prophecy predicting the achievements of Ashurbanipal, and that this is the main reason why this text was read at his court.”
Takuma SUGIE, The Reception of the Marduk Prophecy in Seventh-Century B.C. Nineveh, Orient, 2014, Volume 49, Pages 107-113, Released on J-STAGE April 03, 2017, Online ISSN 1884-1392, Print ISSN 0473-3851, https://doi.org/10.5356/orient.49.107.
#FreeAccess #Article #History #Histodon #Histodons #Ancient #Antiquity #Antiquidons #Orient #MiddleEast #NearEast #Marduk #Nebuchadnezzar #Ashurbanipal #Nineveh #Academia #Academic #Academics @histodon @histodons @antiquidons
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@Marduk_James
🥥 So few contemporary people know of explorer #ErnestShackleton and his incredible story, Marduk, because it happened around the start of World War I and was overshadowed by that disaster. 🥥 -
Many people are unaware that the first recorded "monster slayer" was Marduk The tale repeats itself in many cultures (some over hyped, He Man uses his sword or spear to destroy a monster) Now, while I used to ascribe to the idea that these stories were all just metaphors for patriarchy, I'd also like to suggest they represent humans rejection of magic & the supernatural! #TeamMonster #KeepItInYourPants
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Many people are unaware that the first recorded "monster slayer" was Marduk The tale repeats itself in many cultures (some over hyped, He Man uses his sword or spear to destroy a monster) Now, while I used to ascribe to the idea that these stories were all just metaphors for patriarchy, I'd also like to suggest they represent humans rejection of magic & the supernatural! #TeamMonster #KeepItInYourPants
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Many people are unaware that the first recorded "monster slayer" was Marduk The tale repeats itself in many cultures (some over hyped, He Man uses his sword or spear to destroy a monster) Now, while I used to ascribe to the idea that these stories were all just metaphors for patriarchy, I'd also like to suggest they represent humans rejection of magic & the supernatural! #TeamMonster #KeepItInYourPants
