#revenge — Public Fediverse posts

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Buff Beaver

https://web.brid.gy/r/https://warandpeas.com/2026/08/16/buff-beaver-sweet-payback/

Nosso destino em queda

Nosso destino em queda

Olhe esta geração da vingança.
Leia os sinais que vêm do mundo.
Mostre os delírios.
Assusta-me saber que acham normal
ver os delírios.
Observe: nada disso é normal.

Carlos de Campos 

Avalie isto:

Wednesday, July 15, 2026

https://activitypub.writeworks.uk/2026/07/wednesday-july-15-2026/

https://www.tkhunt.com/2413317/ 愛人との婚約式で離婚宣言！財閥令嬢に戻った彼女を前夫は泣いて引き止めた！ #AsianShortDramas #CEO #ChineseShortDramas #FemaleOriented #FilmAndTelevision #husband #Infidelity #MaleOriented #marriage #Mistress #NEWS #PoorBoy #Rebirth #retribution #REVENGE #reversal #romance #SatisfyingStories #ShortDramas #TimeTravel #TVSeries #WhiteMoonlight #wife #離婚宣言

A quotation from Robert Ingersoll

In his infinite goodness, God invented rheumatism and gout and dyspepsia, cancers and neuralgia, and is still inventing new diseases. Not only this, but he decreed the pangs of mothers, and that by the gates of love and life should crouch the dragons of death and pain. Fearing that some might, by accident, live too long, he planted poisonous vines and herbs that looked like food. He caught the serpents he had made and gave them fangs and curious organs, ingeniously devised to distill and deposit the deadly drop. He changed the nature of the beasts, that they might feed on human flesh. He cursed a world, and tainted every spring and source of joy. He poisoned every breath of air; corrupted even light, that it might bear disease on every ray; tainted every drop of blood in human veins; touched every nerve, that it might bear the double fruit of pain and joy; decreed all accidents and mistakes that maim and hurt and kill, and set the snares of life-long grief, baited with present pleasure, — with a moment’s joy. Then and there he foreknew and foreordained all human tears. And yet all this is but the prelude, the introduction, to the infinite revenge of the good God. Increase and multiply all human griefs until the mind has reached imagination’s farthest verge, then add eternity to time, and you may faintly tell, but never can conceive, the infinite horrors of this doctrine called “The Fall of Man.”

Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1884-01-20), “Orthodoxy,” Tabor Opera House, Denver, Colorado

More about this quote: wist.info/ingersoll-robert-gre…

#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #Christianity #curse #death #disease #divineanger #divinejustice #divinelove #divineplan #divinepunishment #divineretribution #divinewill #divinewrath #Eden #fallofman #foreordainment #GardenofEden #Genesis #God #humancondition #illness #mortality #omniscience #originalsin #predestination #problemofsuffering #revenge #suffering #theodicy

#animatedseries #animated #animation #toon #cartoon #disney #danaterrace #ai #generativeart #generativeai #genai #owlhouse #disneyplus #clarification #criticism #piracy #protest #revenge #manager #art #american

A quotation from Marcus Aurelius

The best kind of revenge is not to become like them.
 
[Ἄριστος τρόπος τοῦ ἀμύνεσθαι τὸ μὴ ἐξομοιοῦσθαι.]

Marcus Aurelius (AD 121-180) Roman emperor (161-180), Stoic philosopher
Meditations [To Himself; Τὰ εἰς ἑαυτόν], Book 6, ch. 6 (6.6) (AD 161-180) [tr. Gill (2013)]

More info about (and translations of) this quote: wist.info/marcus-aureleus/7862…

#quote #quotes #quotation #qotd #marcusaurelius #marcusaureliusmeditations #selfcontrol #character #imitation #influence #retribution #revenge #vengeance

A quotation from Marcus Aurelius

The best kind of revenge is not to become like them.
 
[Ἄριστος τρόπος τοῦ ἀμύνεσθαι τὸ μὴ ἐξομοιοῦσθαι.]

Marcus Aurelius (AD 121-180) Roman emperor (161-180), Stoic philosopher
Meditations [To Himself; Τὰ εἰς ἑαυτόν], Book 6, ch. 6 (6.6) (AD 161-180) [tr. Gill (2013)]

More info about (and translations of) this quote: wist.info/marcus-aureleus/7862…

#quote #quotes #quotation #qotd #marcusaurelius #marcusaureliusmeditations #selfcontrol #character #imitation #influence #retribution #revenge #vengeance

https://www.mzmzmmz.com/1476742/ FULL💖Dumped as a 200kg Bride, She got divine doctor skills! 5yrs later, quints + CEO knelt, begging #2024Spring #CEOromance #Drama #EpicComeback #film #FlashMarriage #flextv #fyp #love #lovestory #OneNightStand #Rebirth #REVENGE #show #TrendingShortDramas #時光代理人LINKCLICKⅡ

Israel Is Using Suicide Drones to Target Displaced Palestinian Families Sheltering in Tents

a story by Sharif Abdel Kouddous, Mohnad Qeshta & Hamza Salha: https://www.dropsitenews.com/p/israel-gaza-skystriker-suicide-drone-elbit

#revenge #retribution #GazaMethod #method #repetitive #process #family #children #warfare #arms #weapons #drones #israel #israelPalestine #JewishSupremacy #IDF #Tzahal #zionism #Gaza #genocide #ongoingNakba #warOnGaza #israelGaza #israelGazaWar #ethnicCleansing #warCrimes #PalestinianLivesMatter #terrorism #counterTerrorism #stateTerrorism #stateViolence #GazaGenocide #StopArmingIsrael #Palestine #DefundIsrael #report #quadcopters #ElbitSystems #Elbit #military

#ConvictedFelon #DonaldTrump’s #Angry New #Threats of #Bloodshed and #Revenge Should #Alarm Us All.

As Trump unleashes a fresh wave of #deranged #warnings, a #columnist who writes about #authoritarianism explains how he is clearly priming his #supporters to prepare for #postelection #violence.

https://newrepublic.com/article/185712/trumps-angry-new-threats-bloodshed-revenge-alarm-us

"Israeli soldiers describe the near-total absence of firing regulations in the Gaza war, with troops shooting as they please, setting homes ablaze, and leaving corpses on the streets — all with their commanders’ permission."

Oren Ziv: https://www.972mag.com/israeli-soldiers-gaza-firing-regulations/ @israel @military

#rulesOfEngagement #israelism #JewishSupremacy #ongoingNakba #revenge #retribution #Gaza #war #warOnGaza #israelGaza #israelGazaWar #ethnicCleansing #warCrimes #PalestinianLivesMatter #genocide #terrorism #counterTerrorism #stateTerrorism #stateViolence #GazaGenocide #StopArmingIsrael #FreePalestine #CeasefireNow #StopFundingIsrael #DefundIsrael #Tzahal #idf #military #972Mag #soldiers #rules #commandment #impunity #army

On this day in 1460, following the Battle of Wakefield, Richard Neville, 5th Earl of Salisbury was executed.

Of Richard Neville's death the English Chronicle writes:

....."The Earl of Salisbury was taken alive and led by the said Duke of Somerset to the castle of Pomfret, and for a great sum of money that he should have paid had grant of his life. But the common people of the country, which loved him not, took him out of the castle by violence and smote off his head."

Image: Richard Neville depicted in the Salisbury Roll.

##15thcentury #yorkshire #battleofwakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge #earlofsalisbury

On this day in 1460, following the Battle of Wakefield, Richard Neville, 5th Earl of Salisbury was executed.

Of Richard Neville's death the English Chronicle writes:

....."The Earl of Salisbury was taken alive and led by the said Duke of Somerset to the castle of Pomfret, and for a great sum of money that he should have paid had grant of his life. But the common people of the country, which loved him not, took him out of the castle by violence and smote off his head."

Image: Richard Neville depicted in the Salisbury Roll.

##15thcentury #yorkshire #battleofwakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge #earlofsalisbury

On this day in 1460, following the Battle of Wakefield, Richard Neville, 5th Earl of Salisbury was executed.

Of Richard Neville's death the English Chronicle writes:

....."The Earl of Salisbury was taken alive and led by the said Duke of Somerset to the castle of Pomfret, and for a great sum of money that he should have paid had grant of his life. But the common people of the country, which loved him not, took him out of the castle by violence and smote off his head."

Image: Richard Neville depicted in the Salisbury Roll.

##15thcentury #yorkshire #battleofwakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge #earlofsalisbury

On the 30th of December in 1460 after the Battle of Wakefield, Edmund Earl of Rutland, the son of Richard Duke of York was executed in an act of revenge. It is said that he was captured on a bridge in the town where the Chantry Chapel of St Mary the Virgin stood.

#15thcentury #yorkshire #wakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge

On the 30th of December in 1460 after the Battle of Wakefield, Edmund Earl of Rutland, the son of Richard Duke of York was executed in an act of revenge. It is said that he was captured on a bridge in the town where the Chantry Chapel of St Mary the Virgin stood.

#15thcentury #yorkshire #wakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge

On the 30th of December in 1460 after the Battle of Wakefield, Edmund Earl of Rutland, the son of Richard Duke of York was executed in an act of revenge. It is said that he was captured on a bridge in the town where the Chantry Chapel of St Mary the Virgin stood.

#15thcentury #yorkshire #wakefield #sandalcastle #castle #warsoftheroses #richarddukeofyork #battlefields #medieval #revenge