gogcom:

35 games are available up to 80% off on GOG.com, and this might be the last time we’ll be able to offer them to you. This post, therefore, is not only to notify you about the promo, but mostly to clear out any confusion about our reasons for removing these games from our catalog. This will happen on Tuesday, September 2, at 3:59AM GMT, and that’s also the expiry time for this offer.
Our aim was to give you - as always - best possible DRM-Free digital distribution platform, focused on the people who use it. We believe in freedom of choice and fair treatment for all. For that reason, as we’re introducing local currency payments, we’re following the simple truth that $1 does not equal 1€, in other words, that 1:1 currency exchange rate for digital goods prices make absolutely no sense and are not fair to the buyers. 
For that reason, along with the local currency payment option, we’re starting to use our own pricing scheme that brings the value of non-US Dollar prices as close to their actual equivalents as we can help it. A game with $5.99 price tag - for example - will cost 4.49 Euro, 3.69 Pounds Sterling, 6.49 Australian Dollars, and 219 Roubles respectively. 
Now, this is not your standard approach to pricing - just like our DRM-Free policy is not a standard approach to digital goods ownership. We did our best - and so did all of our partners, to keep all of the games in our catalog and offer them in the pricing scheme we’ve figured out, that we think is fair to all of you guys. Unfortunately, some of our developer and publisher friends had other obligations that made it impossible to reach a common ground. So, despite our combined efforts, the only sensible thing left to do, was to withdraw the problematic titles from our offer for the time being. 
We know this is quite a radical step, and we’re sorry if this causes you any concern. We do hope, that we’ll figure this out in the future and will be able to re-introduce all these games to the GOG.com offer. There’s definitely the will to do that on both ours, and our partners’ side. For the time being, they’ve been kind enough to offer you a last chance to get the games we’re removing from sales with a nice discount, so they can remain in your collections regardless of their future fate on GOG.com. 
That’s it from us, but we thought you might also be interested in a statement from the representative of Nordic Games (known to GOG.com forum regulars as ThomNG), as it’s the part of the catalog most affected by the change.We know this situation isn’t perfect, but we promise that we did everything we could to handle this in a way that’s least inconvenient and troubling for the gamers.
Kind regards on behalf of the whole GOG.com team!

gogcom:

35 games are available up to 80% off on GOG.com, and this might be the last time we’ll be able to offer them to you. This post, therefore, is not only to notify you about the promo, but mostly to clear out any confusion about our reasons for removing these games from our catalog. This will happen on Tuesday, September 2, at 3:59AM GMT, and that’s also the expiry time for this offer.

Our aim was to give you - as always - best possible DRM-Free digital distribution platform, focused on the people who use it. We believe in freedom of choice and fair treatment for all. For that reason, as we’re introducing local currency payments, we’re following the simple truth that $1 does not equal 1€, in other words, that 1:1 currency exchange rate for digital goods prices make absolutely no sense and are not fair to the buyers. 

For that reason, along with the local currency payment option, we’re starting to use our own pricing scheme that brings the value of non-US Dollar prices as close to their actual equivalents as we can help it. A game with $5.99 price tag - for example - will cost 4.49 Euro, 3.69 Pounds Sterling, 6.49 Australian Dollars, and 219 Roubles respectively. 

Now, this is not your standard approach to pricing - just like our DRM-Free policy is not a standard approach to digital goods ownership. We did our best - and so did all of our partners, to keep all of the games in our catalog and offer them in the pricing scheme we’ve figured out, that we think is fair to all of you guys. Unfortunately, some of our developer and publisher friends had other obligations that made it impossible to reach a common ground. So, despite our combined efforts, the only sensible thing left to do, was to withdraw the problematic titles from our offer for the time being. 

We know this is quite a radical step, and we’re sorry if this causes you any concern. We do hope, that we’ll figure this out in the future and will be able to re-introduce all these games to the GOG.com offer. There’s definitely the will to do that on both ours, and our partners’ side. For the time being, they’ve been kind enough to offer you a last chance to get the games we’re removing from sales with a nice discount, so they can remain in your collections regardless of their future fate on GOG.com. 

That’s it from us, but we thought you might also be interested in a statement from the representative of Nordic Games (known to GOG.com forum regulars as ThomNG), as it’s the part of the catalog most affected by the change.

We know this situation isn’t perfect, but we promise that we did everything we could to handle this in a way that’s least inconvenient and troubling for the gamers.

Kind regards on behalf of the whole GOG.com team!

I’m leaving for Spain in a few hours. Will be gone for two weeks. Don’t miss me ( ͡° ͜ʖ ͡°) 

rfmmsd:

Illustrator:

Agnes Kóbori-Kovács

" I Don’t Like to Live Here"

"Self portrait and the view out of kitchen window. I hope we ll move to another city soon."

(Source: facebook.com)

“Mist.”
ancient German proverb (via suerteencantada)

(Source: ilikesallydonovan)

mrs-cheese:

Icewind Dale 2 - Character portraits by Jason Manley and Justin Sweet.
Copyright Wizards of the Coast and Black Ilse Studios.


Then again, she did inherit Lee’s magic pockets, so maybe there’s formula in the jacket.

Then again, she did inherit Lee’s magic pockets, so maybe there’s formula in the jacket.

callmebooker:

Hey everyone so since I’ve finally reached my goal of 600 followers, I said I was going to do my ps4 giveaway and here it is!! First I would like to thank everyone for their support and being so friendly.
I have to give a huge shout out to my girlfriend elizabethcomstalker because I couldn’t have done this or gotten this far without her. 
So let’s get to it!
RULES: 
-You must be following me as this is a giveaway to my followers. (I will check!)
-The winner will get to choose between the ps4 destiny bundle which I have pre-ordered or the standard black ps4 I have and a choice of ANY game. I will even pre-order a game for the winner.
-I WILL ship internationally.
-I will be using a random generator to select the winner. 
-Likes and EACH reblog will add your URL to the draw. But please do not spam. If you were following me before I made this, your URL is automatically added 5 times.
-I will NOT announce the winner, I will inbox the winner and give them 48 hours to respond, if they do not I will proceed to pick another winner using the random generator.
-The items will be used as to I will still use both of them until the giveaway ends so sorry the destiny bundle won’t be brand new.
-If you have any questions you can message me.
ENDS OCTOBER 1ST. (Good luck everyone!)

callmebooker:

Hey everyone so since I’ve finally reached my goal of 600 followers, I said I was going to do my ps4 giveaway and here it is!! First I would like to thank everyone for their support and being so friendly.

I have to give a huge shout out to my girlfriend elizabethcomstalker because I couldn’t have done this or gotten this far without her.

So let’s get to it!

RULES:

-You must be following me as this is a giveaway to my followers. (I will check!)

-The winner will get to choose between the ps4 destiny bundle which I have pre-ordered or the standard black ps4 I have and a choice of ANY game. I will even pre-order a game for the winner.

-I WILL ship internationally.

-I will be using a random generator to select the winner.

-Likes and EACH reblog will add your URL to the draw. But please do not spam. If you were following me before I made this, your URL is automatically added 5 times.

-I will NOT announce the winner, I will inbox the winner and give them 48 hours to respond, if they do not I will proceed to pick another winner using the random generator.

-The items will be used as to I will still use both of them until the giveaway ends so sorry the destiny bundle won’t be brand new.

-If you have any questions you can message me.

ENDS OCTOBER 1ST. (Good luck everyone!)

kawart:

A very simple beetle pattern I made while experimenting. Free for your use; the bottom images will tile.

Please do not: remove my comment if you reblog, remove my watermark, or use my graphics in artwork that you plan on selling. Please credit me!

"What’s the meaning of this shit?!"

(Source: hailhydrra)

"When Mum and Dad put me on that plane to visit my cousins in England, they told me, 'Son, you're special, you were born to do great things.' You know what? They were right.”

(Source: comstokes)

candied-malboro:

Tartan & Tweed | via Tumblr на We Heart It.

candied-malboro:

Tartan & Tweed | via Tumblr на We Heart It.

mirkokosmos:

Treehouse

mirkokosmos:

Treehouse

(Source: juliendouvier)

theblacksophisticate:

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

The more you know.

theblacksophisticate:

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.

With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.

It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.

Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.

This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

The more you know.

(Source: melanskyyworld)

Played 46 times