Kuxa

[Kuxa @kuxa044]

@Spotify the new logo is fire 🔥

[Watcher.Guru @WatcherGuru]

Explaining Bitcoin to an empty room in 2013 when it was worth $100.

[Sopranos World @SopranosWorld]

He said I wanna look like Tony

[Archaeo - Histories @archeohistories]

Crocodile-skin Suit of Armour (3rd Century AD) .....

'In ancient Egypt the crocodile was seen as sacred and divine, and worshipped as a god, so this suit might have been worn by priests of the crocodile sect who by wearing such a garment would take on the spirit of the deity. In many parts of Africa the crocodile is seen as a fearsome and invincible creature and so I think that by wearing crocodile armour and a headpiece like this, a warrior might be transformed in some magical way and take on the attributes of the animal.'

When the province of Egypt became part of the Roman Empire, it put Romans into direct contact with Egyptian culture and religion. In Egypt Roman garrisons were closely integrated into civic and religious life and participated in local cults. Around Manfalout, on the banks of the Nile in central Egypt, Roman soldiers were particularly attracted to the crocodile cult centred on the sacred grottoes of the region.

This imposing armour is made from the skin of a crocodile. It comprises a helmet and cuirass (body armour) and would have been used in military-style ceremonies of the regional crocodile cult. The skin has been radio-carbon dated to the 3rd Century AD. It was presented to the British Museum in 1846 by a Mrs Andrews, who was among a group of European travellers to Manfalut who found grottoes containing the mummified remains of humans and animals, including many crocodiles.

Although the cold, dry environment of the grotto preserved the suit well, the cuirass in particular was flattened and brittle. It has been painstakingly remoulded by the British Museum's Department of Conservation.

🎥© history_piece

© British Museum

#archaeohistories

[Sarahh @Sarahhuniverse]

Delicious Chimney Cake 🍰😋

© conutlb

[Curiosity @CuriosityonX]

Milky Way is not only moving at 600 km/s, but also “flapping its wings” kinda like a butterfly🦋

[Massimo @Rainmaker1973]

This guy has a collection of Venus fly traps and records them catching bugs and insects.

Here’s one catching a black widow spider.

[📹 carnivosous_plants_journey]

[Nature is Amazing ☘️ @AMAZlNGNATURE]

Polar bears know that they have to be flat in order to exert less pressure on the thin ice

[Massimo @Rainmaker1973]

The "Duck" in Avenida Place hotel, Barcelona, Spain.

[Vintage Maps @vintagemapstore]

Topography of USA

[Archaeo - Histories @archeohistories]

The 1980s marked the peak of London’s punk culture, a revolutionary subculture that emerged in the late 1970s. At its core, punk was defined by its rebellious attitude, distinctive fashion, and a fiercely independent music scene. Bands like the Sex Pistols, The Clash, and Siouxsie and the Banshees became the soundtrack to a generation disillusioned with mainstream society, channeling their anger and frustrations into raw, often politically charged songs. Punk's aggressive, anti-establishment stance resonated with working-class youth, offering an outlet for expression in the face of economic hardship, political unrest, and social inequality.

Punk fashion in London was equally iconic, with its bold, DIY ethos. Anarchic styles dominated, marked by torn clothing, safety pins, leather jackets, and vibrant, often spiked hairstyles. The movement was heavily influenced by designer Vivienne Westwood, whose boutique, SEX, in the King’s Road, became the heart of punk fashion. It was here that many of the first punk outfits were designed and sold, turning the street into a cultural epicenter. The look was not just about fashion; it was about making a statement of rebellion, rejecting conventional beauty standards and embracing a raw, unfiltered style.

Punk culture in London in the 1980s was more than just a fashion or music movement—it was a way of life. Punk youth embraced nonconformity and sought to disrupt the status quo, creating a vibrant community built around defiance and creative freedom. The London punk scene also gave birth to numerous alternative spaces and clubs where punks could gather, such as the famous 100 Club and Camden Market, both serving as incubators for new ideas, music, and fashion. Though the movement evolved over time, the spirit of punk—wildly independent, fiercely individualistic, and unapologetically loud—remains a lasting influence on British culture.

© British History Unveiled

#archaeohistories

[Archaeology & Art @archaeologyart]

Bat pin by Unger Brothers, crafted in silver with gemstone eyes, dated 1904. Private Collection.

[Ghost of Hellas @ghostofhellas]

Mycenaean daggers/swords, 16th - 14th century BC. National Archaeological Museum, Athens-Greece

[Wonder of Science @wonderofscience]

Mobula rays can jump over two meters out of the water and remain airborne for several seconds. The reason for this behavior is still unknown, but hypotheses include attracting mates, removing parasites, long-distance communication, or just to have fun.

[Wonder of Science @wonderofscience]

A tiny jellyfish goes for a wild ride on a bubble ring.

[ArchaeoHistories @histories_arch]

A Spindle bottle with handle...

This object, which is made of glass, dates to the reign of King Akhenaten during the 18th Dynasty.

The flask was core-formed and finished by hand, with the strap handle applied separately. The elongated, ovoid body and slender neck were decorated with finely executed zigzags of blue and white glass.

This "feathered" decoration was achieved by winding thin colored glass rods around the vessel and pressing them onto its surface while it was still soft, and then drawing the rods up or down with a metal instrument.

The handle is embellished with repeating bands of blue, yellow, and white.

This piece (26.7.1176), which is 17.5 centimeters in height, is now in the Metropolitan Museum of Art, New York 🇺🇸

#archaeohistories

[non aesthetic things @PicturesFoIder]

Two dudes in 2003, unaware they were making a legendary song

[Dr. M.F. Khan @Dr_TheHistories]

The personality of David the Builder (David IV of Georgia) will remain misunderstood unless we take into account the role of one of his Armenian teachers...

The greatest intellectual and pedagogue of the 12th Century Caucasus — a Armenian philosopher, mathematician, geometer, musician/poet, astronomer, and grammarian (a master of every subject taught at the Gelati Academy) — Hovhannes Imastaser, played a crucial role in shaping David’s intellectual policy.

Imastaser was the author of original mathematical and philosophical treatises and a translator of works by Aristotle and Euclid. His philosophical credo is well captured in the following phrase:

"No thought can be considered credible and acceptable without experiment; only experiment brings clarity."

According to Armenian sources, David the Builder loved his Armenian teacher dearly:
"He would bow his noble head before him and receive his blessing. He would sit beside him and embrace his neck. But the old man would say: 'I am worn out, and the scent of my old age clings to me; go away, lest you suffer harm.' Yet the king would kiss him and say: 'Let me never be deprived of this scent, my dear father.' And he granted him a village near the monastery for his service. When the king blessed him, laying his hand upon his head, he would say: 'I have found David, my servant, and anointed him with sacred oil' (and so on, up to the tenth verse). The king rejoiced and praised the excellent translations made by the Armenians. And indeed, we have seen the words of the Psalms fulfilled concerning the king; many of them came true for him."

This extraordinary text stands out in the history of pedagogy worldwide:

David deeply loved his Armenian teacher, embraced and caressed him, praised his Armenian translations. It is evident that David was introduced to Aristotle and Euclid precisely through Hovhannes.

Some superficial or tendentious observers might dismiss the beautiful account of the bond between Hovhannes and David as merely a charming Armenian legend. However, one crucial point allows us to affirm that the depiction presented here reflects full historical truth:

David the Builder’s favorite philosopher and theologian was Gregory of Nyssa, one of the leading figures of rational, argument-driven theology — exactly the type of intellectual approach David valued.

In 12th Century Caucasus, the prime representative of such a method was indeed the Armenian Hovhannes Imastaser. Thus, it is perfectly understandable that he became one of David’s most beloved teachers. The elegance and appeal of Imastaser’s style must also have played a role — his original philosophical poem, "Ban Imastutian" ("The Word of Wisdom"), is structured as a dialogue between the author and a little bird.

David’s acceptance of his Armenian teacher’s critical method, emphasizing the experimental verification of knowledge, is clearly reflected in his skeptical attitude toward the legend of Christ’s Robe kept at Svetitskhoveli Cathedral.
David declared:

"How can I know what is truly inside that vessel? And why should I worship it?"
(The Inquiry into the Robe of Christ and the Living Pillar)

In general, David was characterized by special love and affectionate care toward cultural figures. According to Al-Jawzi, David established special centers for Muslim poets and Sufis and frequently hosted them at grand receptions and gatherings.

Based on the Georgian historian Beka Chichinadze

#drthehistories

[Sarahh @Sarahhuniverse]

Fake Beard Fashion 1960s...

© goviralo

[Nature is Amazing ☘️ @AMAZlNGNATURE]

Ladies and gentlemen,I present to you the one and only:The Kingfisher !