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#obituary — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #obituary, aggregated by home.social.

  1. Gloria Steinem used the dinner table as a place to forge relationships and foster change — neither a cook nor an enthusiastic eater
    nytimes.com/2026/09/04/dining/
    Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change.
    #food #feminism #obituary

  2. Gloria Steinem used the dinner table as a place to forge relationships and foster change — neither a cook nor an enthusiastic eater
    nytimes.com/2026/09/04/dining/
    Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change.
    #food #feminism #obituary

  3. Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary

    nytimes.com/2026/09/04/dining/

    Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass

  4. Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary

    nytimes.com/2026/09/04/dining/

    Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass

  5. Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary

    nytimes.com/2026/09/04/dining/

    Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass

  6. “Being a feminist means that you see the world as whole instead of half,” she once said. “It shouldn’t need a name, and one day it won’t.”
    apnews.com/article/gloria-stei

    #GloriaSteinem #obituary #feminism

  7. Horrifier – Revelations of Gore Review By Steel Druhm

    Considering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.

    After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.

    Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!

    Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.

    Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!

    Rating: 3.0/5.0
    DR: 10 | Format Reviewed: 320 kbps mp3
    Label: Personal Records
    Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
    Releases Worldwide: August 7th, 2026

    #2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
  8. Six Feet Under – Next to Die Review By Alekhines Gun

    Here in the hall, we have a tradition called “Squatter’s Rights”. This ensures that if you had the fortune to review something good, you get first dibs on that band’s next release; it also helps prevent the staff from mass-slaughtering each other when trying to see who gets to cover bigger names. Impossibly long-running “Little Engine That Would” outfit Six Feet Under are a remarkable inversion of that rule as the only “big” name where the opposite is true. Rapidly passed about like a blunt when the cops roll up, their last seven albums reviewed here have been through no less than five writers, and now their newest “opus” has fallen to me.1 Previous album Killing for Revenge had the inimitable Iceberg shower the band with praise enough to justify upping their classification from embarrassing to “merely” bad, which is, at least, an improvement in the most scientific sense of the word. Can Barnes and the Boys keep this upward trajectory?

    That Next to Die suffers from self-sabotaging of good ideas is no surprise; what may be surprising is how many good ideas there are to sabotage. Against all odds and seemingly with the sole purpose of ruining entertaining writing, Six Feet Under has managed to assemble an album I find very difficult to outright hate. From a collection of fun, tasteful solos (“Destroyed Remains”, “Next to Die”) to grooves and riffs which manage to carry a whiff of old-school authenticity without devolving completely into boneheaded ignorance (“Mutilated Corpse in the Woods”), Next to Die is mostly barren of the rage-triggering flaws of olde. There are moments in here to get my toes tapping and noggin’ joggin’, with high-energy Obituary-isms and riffs that recall the stench of the oldest of old school death.

    For the most part, Chris Barnes has managed to get out of his own way, discovering high-brow concepts like hot tea and honey between takes and maybe not smoking all the time. The utter ghastliness of Nightmares of the Decomposed has been mercifully abandoned, as he turns in a performance which manages to straddle a sweet spot between The Bleeding and Butchered at Birth, albeit more sun-bleached and war-torn. True, the more open spaces do him no favors when he tries to fill them with sustained growls, and from time to time, he still sounds like he’s struggling with his pacing (“Grasped From Beyond”, “Wrath and Terror Takes Command”), but he doesn’t sound like he’s trying to talk through a tight and possibly fuzzy leather belt anymore. He’s brought a smidgen more tonal range this go-round, digging deeper for some extra lows in “Skin Coffins” and squeezing out the last drops of juice from his throat in the high-belted chorus of “Ill Wishes”. While it’s only taken a decade or three, Barnes can’t be considered the defining weak link of his band anymore.

    Instead, everyone gets to have a hand in things!2 Drummer Marco Pitruzzella often zigs when he should zag, with bizarre drum arrangements and surprisingly minimal beats (“Unmistakable Smell of Death”, “Mind Hell”) which turn into real momentum killers. Some artistic ideas can’t stick the landing, like the aforementioned “Ill Wishes,” which swings for a real album climax in presentation but is ruined by Barnes licking my ears with wildly moist ASMR verses,3 and album kickoff “Approach Your Grave” tries to return death metal to its horror roots with a nifty curtain-raising styled riff that takes two and a half minutes too long to get to the point. Then there’s the paradox of the album: “Mister Blood and Guts.” Musically speaking, this is the crown jewel, with a curb stomping, pit igniting, grin-inducing wad of chug-heavy fun in the chorus, as long as you try not to think too hard about how the lyrics sound like they were written by Sid from Toy Story. Really, that’s the album in a nutshell: there’s some unexpected joy in here, but the sense of relief you feel as the average and mediocre lifts its head is palpable.

    “Stand tall, score it appropriately.” That’s what my Freezer Brother Tyme said. Well, I have, and frankly, I’m angry about it. This was not the dumpster fire I was looking forward to. It is not irredeemable, it is not atrocious, and it is not appallingly terrible. It is instead a cumulative result of a surprising amount of good ideas, riddled with enough flaws and imperfections to drag the final product down to average. Many bands would find that devastating. For Six Feet Under, it is a crowning accomplishment, a continuation of their upward trajectory from the unforgivable to the merely appallingly milquetoast.

    Rating: 2.5/5.0
    DR: 5 | Format Reviewed: 256 kbps mp3
    Label: Metal Blade Records
    Website: Album Bandcamp
    Releases Worldwide: April 24th, 2026

    #25 #2026 #AmericanMetal #Apr26 #DeathMetal #NextToDie #Obituary #Review #Reviews #SixFeetUnder
  9. Radio Free Skaro #1062 – The Daleks Will Stop at Anything

    http://traffic.libsyn.com/freyburg/rfs1062.mp3

    Download MP3

    The time has come and the two previously missing but now gloriously present episodes of The Daleks’ Master Plan, namely The Nightmare Begins (Episode 1) and Devil’s Planet (Episode 3), are here to be viewed and reviewed! They appeared not only on the BBC iPlayer but also in full on the US (but not Canadian, feh) Classic Doctor Who Youtube channel, and we have viewed said episodes and have thoughts. But that’s not all we also have an interview with Toby Hadoke, who hosted a screening at Riverside Studios and reflects with Steven on the screening, the episodes, and the overall wonder that is their return! 

    Links:

    Interview:

    #BBCThree #BigFiniah #BigFinish #davidTennant #doctorWho #doctorWhoMagazine #Gangsters #HBO #iPlayer #LaurieWebb #Mechandise #MissingEpisodes #Obituary #PaulHayes #TheDaleksMasterPlan #TheGiggle #TheStarBeast #TobyHadoke #WildBlueYonder #WorldOfTelly #YouTube
  10. Robert Wilson Dies: Visionary Theater Creator Whose Philip Glass Opera Collaboration ‘Einstein On The Beach’ Remains A Towering Example Of 1970s Avant-Garde Art, Was 83
    #News #EinsteinontheBeach #Obituary #RobertWilson

    deadline.com/2025/07/robert-wi

  11. Clairvoyance – Chasm of Immurement Review

    By Maddog

    Yes, I picked this up entirely because of its cover. Girardi’s gorgeous spiral of tombstones and skeletons conjures vintage highbrow death metal of the likes of Death. The title Chasm of Immurement grasps at brutal badassery in the vein of Suffocation’s Effigy of the Forgotten. Clairvoyance’s logo remains indecipherable even if you know the band’s name, suggesting kvltness galore. The promo materials describe lyrics that address the isolating effects of depression, foreshadowing a harrowing listen. In isolation, each of these judgments strikes at the truth but glances off. Chasm of Immurement is the debut album from Poland’s Clairvoyance, an unknown band comprising unknown musicians. Lying at the intersection of brainless death-doom and brainiac digressions, Chasm of Immurement is a powerful foray into death metal.

    A first pass through Chasm of Immurement suggests primitive death metal with a dollop of doom. “Eternal Blaze” opens the album with a bang that recalls Faceless Burial’s Speciation. After grabbing me by the anus, Clairvoyance maintains its hold by alternating between mid-range Obituary riffs and lurching Autopsy-style death-doom. These lowbrow highlights feel both as slimy and evolved as an amoeba. With both its riffs and its guitar tone, Chasm of Immurement leaves a palpable layer of grime that justifies multiple colonoscopies. “Blood Divine” emerges as a late gem through riffs that are gory enough to draw blood and enormous enough to evoke Immolation. This isn’t isolated to a subset of the tracks; throughout its runtime, Chasm of Immurement alternates between a sixteen-wheeler and a used minivan without dulling its fun.

    On your fifth listen, Clairvoyance’s experimental bent comes into view. The same doomy riffs you’d heard before reveal spooky foreground melodies (“Reign of Silence”). The same track that you’d interpreted as a caveman ditty blossoms in baffling melodic directions in its second half (“Eternal Blaze”). The same song that introduced itself as by-the-books death metal culminates in a monstrous doomy climax (“Fleshmachine”). The same sections that you’d dismissed as repetitive transform into home bases for grimy excursions, interfering with your sleep schedule and your family obligations. Adorning hefty riffs with sinister melodies, Clairvoyance recalls both Lovecraft’s Azathoth and Morbid Angel’s Trey Azagthoth. It took me a while to realize that I was doing Chasm of Immurement an injustice by pigeonholing it into old-school death metal. It is indeed that, but it’s so much more.

    Clairvoyance’s varying ambitions both empower and dilute each other. Spanning 34 minutes across 6 tracks, Chasm of Immurement is a concise collection of lengthy tracks. Some of its pieces wander, especially at their simplest. For instance, despite being the second shortest track, “Blood Divine” feels lengthy because of its dearth of creative ideas. Similarly, the shortest song, “Eternal Blaze,” suffers from riffwork that’s decent but unimaginative, before eventually redeeming itself with more variety. Even so, these flubs are rare. The six-minute “Hymn of the Befouled” is the starkest counterexample, balancing length with girth by combining a vicious off-kilter main riff with melodic escapades that hold me rapt. Parts of Chasm of Immurement could do a better job of remaining engaging, but it’s hardly a fatal flaw.

    Balancing thoughtful death metal and anti-intellectual death-doom, Clairvoyance’s debut is as weird as it is powerful. Neanderthals who need their fix should look here, as Chasm of Immurement’s crushing death metal riffs rival the best of old-school death metal. Conversely, fans of Morbid Angel’s wonkiness or Tomb Mold’s shapeshifting shenanigans will find just as much to love here. Chasm of Immurement is unlikely to dethrone Faithxtractor’s Loathing and the Noose atop my 2025 death metal ranking, as its occasional meandering loses my interest. But it’s a promising debut from a crew of talented Polish fiends.

    Rating: 3.5/5.0
    DR: 7 | Format Reviewed: 320 kb/s mp3
    Label: Carbonized Records
    Websites: carbonizedrecords.bandcamp.com | facebook.com/clairvoyancedeathmetal
    Releases Worldwide: July 18th, 2025

    #2025 #35 #Autopsy #BrutalDeath #BrutalDeathMetal #CarbonizedRecords #ChasmOfImmurement #Clairvoyance #Death #DeathDoom #DeathMetal #DeathDoomMetal #FacelessBurial #Immolation #Jul25 #MorbidAngel #Obituary #PolishMetal #ProgDeath #ProgressiveDeath #ProgressiveDeathMetal #Review #Reviews #Suffocation #TombMold

  12. Kazuo Sumi, former president and chairman of railway operator Hankyu Hanshin Holdings, died at his house in the city of Takarazuka, Hyogo Prefecture, on April 26, sources said Wednesday. He was 76. japantimes.co.jp/news/2025/05/ #japan #obituary #rail #hankyu #hanshin

  13. Obituary for the late Mark Zuckerberg who turned a Harvard campus creeper app, scraping and rating female students' photos, into a global Public Information Utility, who left this life firmly committed to the right of every member of the Public to enjoy their own truth; and to evade their rights established under the Common Carrier clause of the US Code which was enacted to protect citizens from parasitic utilities like those operated by Meta Corp.

    uscode.house.gov/view.xhtml?pa

    #law #justice #AI #satire #1A #freespeech #commonCarrier #publicUtilities #antitrust #regulation #oversight #publicInterest #publicSector #journo #journalism #RIP #obituary #meta #social #factChecking #disinfo #disinformation #propaganda #truth #truthMatters #facts #factsMatter

  14. Seems like all I am posting lately are R.I.P. posts… SIgh, here’s another. R.I.P. James B. Sikking. He has played many roles and I knew him first from ‘Hill Street Blues’, but he’ll forever be Captain Styles in ‘Star Trek III: The Search for Spock’ to me. >> James Sikking Dead: 'Hill Street Blues' Star Was 90 variety.com/2024/tv/news/james

    #RIP #JamesBSikking #actor #movies #television #obituary #StarTrek #SearchForSpock #HillStreetBlues

  15. #Norway : #Peace / #PeaceResearch / #science / #nonviolence / #Peacebuilding / #obituary / #Galtung

    Just for fun, have a look in your daily newspaper to see if Galtung's death has been mentioned there. If not, please think about whether you think it would be worth continuing your subscription…

    theguardian.com/world/2024/mar

  16. #Norway : #Peace / #PeaceResearch / #science / #nonviolence / #Peacebuilding / #obituary / #Galtung

    Just for fun, have a look in your daily newspaper to see if Galtung's death has been mentioned there. If not, please think about whether you think it would be worth continuing your subscription…

    theguardian.com/world/2024/mar