#norheim

[tommeraasx]

[human-antithesis]

Hermit’s Lair https://t.me/Human_Antithesis

Mayhem - Deathcrush (EP) [August 16th, 1987] Country: Norway Genre: Black Metal

Lineup:

Sven-Erik Kristiansen A.K.A. Maniac - Vocals

Øystein Aarseth A.K.A. Euronymous (R.I.P. 1993) - Guitars

Jørn Stubberud A.K.A. Necrobutcher - Bass

Kjetil Manheim - Drums

Guest/Session:

Konrad Schnitzler (R.I.P. 2011) - Everything (Track 1)

Eirik Skyseth Norheim A.K.A. Messiah - Vocals (Tracks 4, 7, 8)

Tracklist:

Silvester Anfang - 01:56

Deathcrush - 03:33

Chainsaw Gutsfuck - 03:32

Witching Hour (Venom Cover) - 01:49

Necrolust - 03:37

(Weird) Manheim - 00:48

Pure Fucking Armageddon - 02:07

Outro - 01:14

[stephenwarren]

Whilst they waited for Jack, his eldest's therapy session to be over, Stephen decided to take Alexandra, his youngest to the park. Therapy sessions nowadays were about two-hours long for the twelve year old so it had been decided earlier on that Stephen would drive him off and give him and his therapist space to speak freely whilst giving Alexandra and Pollux, their labradoodle, some time to enjoy themselves at the park twice a month.

Alas there he was, with a visibly calm Pollux resting by his feet and four set of eyes focused on the six year old enjoying herself on the slide when a voice called for his attention, making him look from the playground to the bench next to his; the water bottle rolling right next to Pollux's paws. "I've got it" he called out, reaching over to pick the bottle up, the movement immediately making the labradoodle perk up excitedly as Stephen himself reached out to hand the other the bottle. "They should make square bottles, or some shape that doesn't just roll away into oblivion."

Today he was at the park with his kids his daughter 9 year old Ellie and his son 5 year Logan He had them today as he wasn't working and he had free time with them. "Come on you two" he smiled at them. He knew it wasn't his plan to have them both, but he was happy he did, as he greatly loved his kids. "After we play at the park we can go to dinner," Alexi told his kids. Who where excited about today His kids had mone but still more of an American accent.

Soon they arrived at the park and the kids hurried off to the playground Alexi took a seat on a bench thankfully had shade. It was summer for sure, so it was pretty hot out each day and even stuck around at night. "Oh it's warm" he used his hand to fan himself and pulled out water from the bag he had. That had water for his kids, and whatever else was needed. He went to sit his water bottle on the seat by him but missed so it fell on the ground and rolled away "Shoot!" he said as he stood up. @newbellevouxstarters

[the-olympics-olympics]

Tom was named after Brazilian musician Tom Jobim, one of the writers of the song "The Girl from Ipanema" (along with Vinicius de Moraes, the namesake of Olympic mascot Vinicius). Vinicius's design represents Brazilian wildlife, combining "the agility of cats, sway of monkeys and grace of birds." The character's arms and legs can stretch unlimited distances. Vinicius's mission is "to spread joy throughout the world and celebrate the friendship that flourishes between people from all over the world" at the Olympic Games.

Sondre is based on the trolls depicted in Scandinavian folklore. The one-legged skiing troll was created as a result of a nationwide competition among schools, with the winning design handed in by Janne Solem. In a separate competition, the name “Sondre” was chosen for the Paralympic mascot as a reference to Sondre Norheim, one of the pioneers of modern skiing.

Sumi was the mascot for the 2010 Winter Paralympics. He is an animal guardian spirit with the wings of the mythical Thunderbird and legs of an American black bear who wears a killer whale-like hat in the artistic style of the Haida people.

[diceriadelluntore]

Undercover

Ho scoperto delle storie riguardo alle copertine censurate su cui davvero si potrebbe scrivere un bel saggio. C'è da dire che raramente la musica di qualità accompagna la decisione di una copertina controversa, che è specialità di alcuni genere su tutti, quasi come stereotipo. Tuttavia alcune sono così strane ed eccentriche che vale la pena raccontare un po':

Come accennato nella storia dei Rolling Stones, questa copertina dei Mamas & Papas fu censurata perchè si vedeva la tazza del water. La soluzione fu attaccare uno stickers in quella zona della foto.

La copertina del 1958 delle Chantels, le cui canzoni erano passate moltissimo dalle radio, fu ritenuta "scandalosa" poiché per la prima volta si vedevano 5 ragazze nere, le cantanti appunto. È vero che viviamo tempi brutti, ma qualcosa è migliorato.

Diamond Dogs di Bowie fu censurato perchè nel disegno di copertina, che riprende le tematiche del disco ispirato a La fattoria degli Animali, nel Bowie mezzo cane si vedevano i genitali. Nelle edizioni successive il disegno fu tagliato all'altezza del bacino di Bowie, perdendo totalmente il senso.

Tutto lo conosciamo così, ma all'inizio si doveva chiamare e presentare così

La prima copertina di uno dei grandi successi dei Bon Jovi era così

ma essendo criticata fu trasformata in così

Il primo disco del famoso gruppo Dio era così

e fu censurata in diversi paesi, spingendo il gruppo a cambiare leggermente il disegno di Murray, la loro mascotte demoniaca, che tiene il prete con le catene non spezzate fuori dall'acqua.

Ho visto copertine orripilanti, una dove il titolo dell'album è scritto sul pene del batterista (Death Grips – No Love Deep Web), esperimenti sulle feci, quelle che hanno riferimenti religiosi (soprattutto alla crocifissione del Cristo) ma ne ho scelto tre, in un ipotetico podio di assurdità.

Terzo Posto: NoFx, Heavy Petting Zoo, 1996. Ritirata per pornografia zoofila in molti paesi del mondo, il gruppo punk dei NoFX decise di ristampare il cd del vinile con quest'altra copertina (senza parole...)

Secondo Posto: qualsiasi copertina dei Cannibal Corpse, che detengono il record mondiale di denunce, querele e divieti sia per i loro lavori, sia intesi come copertine sia come testi delle "canzoni" (una sorta di rumore primordiale dove si parla di mutilazioni, sesso violento, misoginia e così via). In molti paesi non posso suonare dal vivo. Per dare un'idea, ne lascio uno, una delle meno cruente

Primo Posto Mayhem, Dawn of the Black Hearts, 1995. Io non la conoscevo prima della mia idea sulle copertina controverse e censurate (e per certi versi era meglio così), ma questa storia è al limite dell'assurdo. I Mayhem sono una band death metal norvegese. Si formano a metà anni '80, composti dal bassista Jørn Stubberud, detto Necrobutcher, il batterista Manheim, a cui si aggiunse il chitarrista Euronymous, e il cantante Eirik Norheim detto Messiah. Messiah se ne va, e viene sostituito da Per Yngve Ohlin, uno svedese che si soprannomina Dead. Per capire che tipo è, dico solo che per dimostrare che non fosse un umano e che nelle sue vene non scorresse davvero sangue, in un concerto a Jessheim, Dead ruppe una bottiglia e, come aveva promesso all'inizio del concerto, per fomentare la tensione si tagliò varie parti del corpo sanguinando sul palco. Al termine del concerto, il cantante svenne per l'ingente perdita di sangue e fu portato immediatamente all'ospedale, riuscendo tuttavia a sopravvivere. Non pago, l'8 aprile del 1991 il cantante, che soffriva di una diagnosticata depressione, si tolse la vita tagliandosi la gola e le vene dei polsi e sparandosi poi un colpo di fucile alla testa lasciando un biglietto "scusate per il sangue" e un foglietto con il testo di una canzone intitolata Life Eternal. Fin qui, nonostante i particolari orribili, niente che non sia già successo. Ma a questo punto arriva l'assurdo: si ipotizza che Euronymous, prima persona a rientrare trovando il corpo del suicida, avesse preso frammenti del cranio di Dead, regalandone in seguito alcuni ad altri musicisti dello scenario del black metal, e che fece delle fotografie del corpo martoriato di Dead (entrambi i fatti appurati dalla magistratura norvegese, ma sull'accaduto esistono incredibili ulteriori dicerie). A questo punto c'è da raccontare un doppio binario di fatti: delle foto fatte da Euronymous si seppe solo dopo che quest'ultimo fu ucciso a pugnalate (26) da Varg Vikernes, il bassista che preso il posto di Necrobutcher, che abbandonò i Mayhem disgustato da quello che aveva fatto Euronymous (anche i death metallari hanno una coscienza). Infatti il disco, che uscirà nel 1995, pubblicando un live tenuto a Sarpsborg nel 1990 e a Ski in Norvegia nel 1986 fu pubblicato in maniera quasi clandestina da Mauricio "Bull Metal" Montoya, proprietario della Warmaster Records in Colombia nonché leader della band death metal Masacre il quale, avendo una corrispondenza di penna con Euronymous all'epoca del suicidio, ebbe come regalo una delle polaroid del corpo di Dead, scattate dal nostro eroe al morto per farne una copertina di un disco della band. Di conseguenza, visto il mito sinistro, il disco è uno dei più conosciuti di sempre, nonostante fisicamente ne esistano poche centinaia di copie in vinile, e uno dei bootleg più copiati nella storia del genere. Non so se sia il karma ma lo stesso Bull Metal si suicidò quasi nella stessa maniera di Dead.

Per chi se la sente, la copertina è questa

[solhrafn]

Les restes d'hier devant le feu avec le café qui passe sur le grill en portant mon nouveau manteau Norheim. Je suis seul dehors. Hello, j'ai sept ans.

V est restée près de moi tant qu'il y avait des flammes mais B n'a fait que regarder trente secondes à travers la vitre. Décevant. A mon avis dans quelques années V sera ma partenaire de trekking, plutôt que B.

[drunkenskunk]

I woke up just a little after midnight this morning, and the Basil Poledouris soundtrack from the 1982 classic Conan The Barbarian was playing in my head.

So... I decided to reread my collection of the old Conan stories by Robert Howard.

It has me feeling a strange mixture of emotions.

I am struck by a pensive melancholy, and yet I sense a great violence welling up within me; a surge of bloodlust, of boiling blood flowing through my veins, calling for release... yet tempered by the terrible weight of knowledge that I am shackled by the chains of civilization, and with nerves so deadened by that foul beast, Depression.

I yearn for a thing that never was.

Even now, the visions fade from my mind... ghostly after-images dancing across my eyes are all that remain of things which were once so crystal clear. Coward that I am, I shall never possess the strength to reach out and claim the destiny I have desired all my life...

. . .

"I have known many gods. He who denies them is as blind as he who trusts them too deeply. I seek not beyond death. It may be the blackness averred by the Nemedian skeptics, or Crom's realm of ice and cloud, or the snowy plains and vaulted halls of the Norheimer's Valhalla. I know not, nor do I care. Let me live deep while I live; let me know the rich juices of red meat and stinging wine on my palate, the hot embrace of white arms, the mad exultation of battle when the blue blades flame and crimson, and I am content. Let teachers and philosophers brood over questions of reality and illusion. I know this: if life is illusion, then I am no less an illusion, and being thus, the illusion is real to me. I live, I burn with life, I love, I slay, and am content."

[frauenfokusofficial]

Die Geschichte des Skifahrens: Wo wurde Skifahren erfunden?

Skifahren ist eine der beliebtesten Wintersportarten weltweit. Doch wo genau wurde diese faszinierende Sportart erfunden? Die Geschichte des Skifahrens reicht weit zurück und ist von kulturellen und geografischen Einflüssen geprägt. In diesem Artikel werden wir die Ursprünge des Skifahrens erkunden und herausfinden, wo diese aufregende Sportart ihren Anfang nahm.

Die Frühgeschichte des Skifahrens

Die Geschichte des Skifahrens lässt sich bis in die Altsteinzeit zurückverfolgen, als Menschen begannen, sich auf selbstgemachten Skiern fortzubewegen. Diese frühen Ski waren aus Holz gefertigt und dienten hauptsächlich als Fortbewegungsmittel in schneebedeckten Regionen. Insbesondere in Skandinavien und den nordischen Ländern entwickelte sich das Skifahren zu einem wichtigen Bestandteil des täglichen Lebens.

Die Entwicklung des modernen Skifahrens

Das moderne Skifahren, wie wir es heute kennen, hat seine Wurzeln in Norwegen. Hier wurden im 19. Jahrhundert die ersten Skiclubs gegründet und Skirennen organisiert. Norwegen gilt daher als die Wiege des modernen Skisports. Sondre Norheim: Der Vater des modernen Skifahrens Eine Schlüsselfigur in der Entwicklung des modernen Skifahrens war Sondre Norheim, ein norwegischer Bauer und Skifahrer. Norheim gilt als Erfinder der Bindungen und Kurven-Techniken, die das Skifahren sicherer und dynamischer machten. Seine Innovationen trugen maßgeblich zur Popularisierung des Skisports bei und legten den Grundstein für die moderne Skitechnik.

Die Verbreitung des Skisports

Mit der zunehmenden Popularität des Skifahrens in Norwegen begann die Sportart, sich auch in anderen Teilen der Welt zu verbreiten. In den Alpenregionen Europas wurde das Skifahren im späten 19. und frühen 20. Jahrhundert populär. Hier entstanden die ersten Skiresorts und Skischulen, die den Tourismus in den Bergregionen ankurbelten. Österreich und die Schweiz: Zentren des alpinen Skisports Österreich und die Schweiz spielten eine entscheidende Rolle in der Entwicklung des alpinen Skisports. In diesen Ländern wurden die ersten Skirennen organisiert und die ersten Skigebiete erschlossen. Heute zählen die Alpenländer zu den Top-Destinationen für Wintersportler aus der ganzen Welt.

Fazit

Die Geschichte des Skifahrens ist geprägt von einer langen Tradition und kontinuierlichen Innovationen. Von den frühen Skiern der Altsteinzeit bis hin zu den modernen Alpinskiern von heute hat sich das Skifahren zu einer faszinierenden und beliebten Sportart entwickelt. Norwegen mag zwar als die Wiege des modernen Skisports gelten, doch die Verbreitung und Weiterentwicklung des Skifahrens haben ihren Ursprung in zahlreichen Regionen weltweit. Read the full article

[georginaramsey]

Editing Research 'Just A Man'

Norsemen: 

‘Norsemen’ (2016) The series is written and directed by Jon Iver Helgaker and Jonas Torgersen. This series is set in the year 790 in a fictional Viking village named ‘Norheim”. The series parodies the stereotypes of Viking culture with a modern curveball. A blend of raw and brutal historical aspects of Viking culture with contemporary comedy. Edited by Rodrigo Stoicheff. The series incorporates anachronistic humour in the stories of each episode through comedy pacing editing to allow for deadpan humour and awkward silences.

In an article by the Guardian on Norsemen, Julia Raeside states, “Norsemen owes as much to Monty Python as it does to Asterix and Game of Thrones. A bunch of brilliantly talented Norwegians have made this ludicrously lovely sitcom in English (they made a Norwegian version, too) so that we may access their dry-as-a-bone humour more easily.”

I looked into interviews with leading comedy editors and was able to find an interview with co-editors of ‘Only Murders in the Building’ Shelly Westerman and Payton Koch. 

When talking about having pre-existing relationships with directors as an editor Shelly Westerman states:

“We talked during pre-production and throughout the shoot, all of which gave us much more insight and clear direction.

Oftentimes we meet a director via email, we say hi on a Zoom meeting, and then we don’t talk again until the Director’s Cut. Having that previous relationship and feeling empowered to talk more freely throughout pre-and-post production absolutely made the work much better.”

It is important for an editor to have a strong relationship with the director as it directly impacts the cohesion of the final project. It is crucial that both director and editor have a shared vision through creative alignment with the editor and director having multiple meetings to fully understand the overarching emotional arc of the film. To do this, it is also vital for effective communication between both the director and the editor. This can be done to tackle problems that may come up during the construction of the edit. It is also helpful for the editor and director to trust one another, allowing the editor creative freedom in storytelling.

Ja’mie Private School Girl

The editor for Ja’mie Private School Girl is Ian Carmichael, who is known for Thunderstone (1999), True Story with Hamish & Andy (2017) and Border Protection Squad (2015). Ian currently works at Hibs Edit Design in Greater Melbourne and has over 30 years of experience as an editor in Australia. According to Ian's LinkedIn, he started out editing television commercials and moved on to work at various large post-production houses in Australia and abroad. Having seen his LinkedIn, I want to begin applying for editing houses or possibly try to work on TV advertisements as I enjoy these sorts of editing styles rather than narrative fiction. However, my experience in narrative fiction film editing, I believe, is crucial to understanding story structure and purposeful editing in works such as advertisements or documentaries. I have ordered books on both Documentary editing and film editing as a whole from authors such as Edward Dmytryk and Ken Dancyger. I wasn't able to find much on the editing of Ja’mie Private School Girl, but I did find an article on the creator of the show, Chris Lilley, in which it is stated:

“Long-time Lilley fans will be familiar with Lunatics’ format, which uses a mockumentary style to interview these quirky, self-delusional characters and follow them about as their pie-in-the-sky aspirations collapse under the weight of reality. Mix in some rude gags — think gender-fluid dogs, dildos attached to drones, and a clothes store called My D!ck — and you have the Lilley formula in a nutshell.”

In ‘Just A Man’, I would like to incorporate the deadpan comedy style of the works of Chris Lilley, such as Lunatics or Ja’mie Private School Girl, through ‘self-absorbed’ characters whose lives and dreams unfold in absurd and comedic ways. I feel that it is important that we incorporate the use of handheld camera shots to mimic real documentary-style filmmaking to create a real feeling of the subject despite the fact that Desmond, the main character, is a puppet. To accompany these shots, we have already discussed creating talking head interviews with the sock puppet of him breaking the fourth wall, which will provide insight into his inner thoughts and highlight his self-delusions. The comedic effect will be created by cutting directly from these interviews to footage of his break-downs or even fighting with the cameramen. 

Fleabag: 

The series ‘Fleabag’ written by Phoeber Waller-Bridge 

In an article titled “Breaking the Fourth Wall: Fleabag,” the author ‘Mrunal’ explores how the protagonist’s (fleabag, played by Phoebe Waller-Bridge) direct engagement with the audience serves as a narrative device to reveal her internal struggles and emotional journey. This technique not only offers insight into her psyche but also fosters a unique connection between the charavter and audiences. 

The editor of both seasons of Fleabag is Gary Dollner who was awarded an Emmy and an ACE Eddie for his work on season two of the show. In an interview with editshare.com it was found that:

“He credits Waller-Bridge for writing an intro for season two that starts at a full-blown sprint, breathlessly delivering just enough backstory to get everyone up to speed before plunging into an episode that’s a thrill despite taking place almost entirely with the characters seated in a restaurant.”

Opening episodes, such as pilots and season premieres, are problematic because they involve significant setup, which can affect the story’s momentum. Phoebe Waller-Bridge’s season two introduction of Fleabag was highly effective, starting at a rapid pace that quickly established the necessary backstory before diving into an engaging, restaurant-based bottle episode. The episode was designed to feel claustrophobic, with complex interactions among characters sitting at a table. Editor Gary Dollner tightened the pacing, keeping the delivery brisk to enhance drama and comedy. Dollner focused on keeping all character interactions and expressions balanced, likening it to “spinning plates” to ensure no relationships or reactions were neglected. Dollner appreciates dialogue overlap for authenticity, creating a natural flow. He used this technique in the dinner scene to keep conversations energised and realistic, even adding overlap where it didn’t naturally exist. Quick-cut editing maintained the episode’s energy, aligning with Waller-Bridge and director Harry Bradbeer’s overall vision for pacing and rhythm.

With this in mind in terms of editing, it will be useful to begin with a high-energy opening that will immediately set the tone and essential backstory. It will be good to introduce Desmond with quick, punchy scenes that establish who he is and his current situation, pulling the audience in quickly without extensive exposition. If there are scenes with multiple characters in confined spaces, edit to create chaos. Like Dollner’s “spinning plates” approach, ensure that all character dynamics are visible. Highlight non-verbal communication—glances, smirks, and eye-rolls—so that these subtleties add layers to the humour and relationships without verbal explanations.  Integrate quick reaction shots to punctuate jokes or significant moments. This editing choice keeps the audience engaged by showing a variety of reactions and maintaining the scene’s energy.

Reference list

Carmichael, I. (2024). LinkedIn Login, Sign in | LinkedIn. [online] LinkedIn. Available at: https://www.linkedin.com/search/results/all/?heroEntityKey=urn%3Ali%3Afsd_profile%3AACoAAC5ga8kBLn4J1AFgufX4ZuegzWN3py8BsuE&keywords=Ian%20Carmichael&origin=ENTITY_SEARCH_HOME_HISTORY&sid=HZq

Cothren, A. (2019). Chris Lilley’s Lunatics Has Deadpan cringe, Great Dialogue but Is More Mawkish than Outrageous. [online] The Conversation. Available at: https://theconversation.com/chris-lilleys-lunatics-has-deadpan-cringe-great-dialogue-but-is-more-mawkish-than-outrageous-115453.

EditShare (2020). When It Works, It’s Not Work: Gary Dollner, Editor of Fleabag. [online] EditShare. Available at: https://editshare.com/post/when-it-works-its-not-work-gary-dollner-editor-of-fleabag/.

Hellerman, J. (2024). Payton Koch and Shelly Westerman on Editing ‘Only Murders’. [online] No Film School. Available at: https://nofilmschool.com/only-murders-editors.

Mrunal (2023). Breaking the Fourth Wall: Fleabag - Mrunal - Medium. [online] Medium. Available at: https://medium.com/@mrunal.subhedar/breaking-the-fourth-wall-fleabag-c5dfa18416bb.

Raeside, J. (2017). Norsemen Review - Monty Python Meets Game of Thrones in This Norwegian Comedy. [online] The Guardian. Available at: https://www.theguardian.com/tv-and-radio/2017/sep/14/norsemen-netflix-review.

[ingagernernielsen]

In the Mirror of Care Work is out of stock. I am working with TABLOID Press on a second edition for 2025.

The exchange of knowledge from these two gatherings formed the basis of an ongoing dialogic project, as well as the content of this publication, which has been supplemented with seven essays by nurses, educators, performance theorists and performers. The book includes a series of drawings commissioned from artist Marit Benthe Norheim, graphics by TABLOID Press co-director Nat Marcus, and photographs of a performance installation staged by Nielsen in the Department of Nursing Education at University College of Northern Denmark – Hjørring.

Edited by Inga Gerner Nielsen with Ar Utke Acs, editorial assistance from Nat Marcus.

With essays by Elvira Crois, Majula Drammeh, Vienne Chan, Helle Kronborg Krogsgaard, Tyra Wigg, Rikke Steen Mapstone and Ar Utke Acs.

[tommeraasx]

Herman as Stian Norheim in Leave (2021)

[human-antithesis]

Mayhem - Deathcrush (EP) [August 16th, 1987]

Lineup:

Sven-Erik Kristiansen A.K.A. Maniac - Vocals

Øystein Aarseth A.K.A. Euronymous (R.I.P. 1993) - Guitars

Jørn Stubberud A.K.A. Necrobutcher - Bass

Kjetil Manheim - Drums

Guest/Session:

Konrad Schnitzler (R.I.P. 2011) - Everything (Track 1)

Eirik Skyseth Norheim A.K.A. Messiah - Vocals (Tracks 4, 7, 8)

[realmadridnews]

Sporting Lisbon Femenino - Real Madrid Femenino 1:2

scorers: 0:1, Athenea 11'

1:1, Andreia Bravo (p) 45+4'

1:2, Leupolz 90+6'

Sporting Lisbon Femenino: Saebert; Alicia Correia, Norheim, Eaton-Collins, Borges; Andreia Bravo (77' Pinto), Neto, Brenda Perez, Diana Silva (71' Galabadaarachchi); Raphino (59' Capeta), Encarnacao (77' Maisa Correia)

Real Madrid Femenino: Misa; Oihane Hernandez, Lakrar, Mendez, Camona; Leupolz, Toletti (79' Abelleira), Angeldal (59' Navarro); Athenea (87' Feller), Weir, Redondo (59' Bruun)

yellow cards: Raphino, Borges - Misa, Carmona, Moller

[newbellevouxhq]

The following applications have been accepted! Please send in your blog within 48 hours of opening and check out our checklist.

Katrine Norheim (Olivia Cooke penned by Starlight)

[kultofathena]

View this post on Instagram

A post shared by Kult Of Athena | Swords & Armor (@kult_of_athena)

The Dussack is a sidearm originating in the early 16 th century, and it was first mentioned in the manuscript ‘Ergrundung Ritterlicher Kunst der Fechterey’ written by a fencing master Andre Paurñfeyndt in 1516. It has soon become a standard part of fencing treatments, where they are usually shown as made out of wood (for practicing purposes).

The actual weapon is defined by a now often curved blade, a knucklebow and protection for the back of the hand. The dusack���s blade length usually lies between 635mm and 884mm. When it comes to the blades and hilts, the originals and period depictions show a considerable variation. Per Terje Norheim created a typology for them in 1971 which was translated by Keith Cotter-Reilly in 2020, who inspired us to do this project. From all the available variations, we choose a type G hilt with a type III blade – the latter is approximately equivalent to the Elmslie type 4a++ blade.

The blade and pommel are all fully ground by hand, the cross and the shell are hand- forged in Landsknecht’s Emporium. The peculiar finials and pommel shape are based quite closely on antique Dussacks and are representing stylized sea monsters. According to Major Eivind Eyvang’s publication on the subject (also translated by Keith Cotter-Reilly), dussacks hilted with type G hilts are the lightest variation, with the originals weighing between 920g and 1150g. Our interpretation aims at a weight of 1050-1070 grams which yields a fast, nimble weapon while still having a sturdy enough blade to survive sparring.

Landsknecht Emporium products aim to have the aesthetics of historical pieces, not the finish of mass-produced items. Each product bears the signs of its making; of small tool marks and various handcrafted imperfections, which do not affect the build quality or usability but give each of our pieces its unique character.

[digitaldion]

It was wonderful to arrive in stunning Bergen today! It had been snowing overnight, and while it was cold, the glorious son came out to greet us - and our very generous host Prof Bård Norheim (who hosted us in his home for dinner)! Our conference begins tomorrow. It is lovely to be here with my colleagues reflecting on teaching and learning in times of crisis. (at Bergen Airport BGO, Bergen, Norway) https://www.instagram.com/p/CqTh8XZNAuZ/?igshid=NGJjMDIxMWI=