1 pointYs Origin for 75% off until October 15th. https://store.steampowered.com/app/207350/Ys_Origin
1 pointROBOCRAFTX is going pay to own when it leaves early access. However if you grab it now and keep it in your Steam library through 10/17th, you get to keep it for free apparently: https://store.steampowered.com/app/1078000/RobocraftX/
1 pointFact of the Day - THE RIALTO THEATRE Did you know... that after World War I, Tucson’s economy began to transform away from a natural resources and agriculture base and toward the service economy it is today. The reason? The burgeoning tourism industry. For the first time, the city began to trade on its favorable climate. And what better era in which to do so than the Roaring Twenties? Like the Hotel Congress, its sister structure across Congress Street, the Rialto was built by the California-based firm William Curlett and Son. Like all Rialtos (and there are many extant worldwide) the name hearkens to a medieval covered bridge in Venice around which novelty shops were built, providing a de facto “entertainment district” when no such thing existed. “Rialtos” were plazas where the common man could go for fun, as “Theatres” and “Operas” were reserved for the nobility and the wealthy. It’s worth noting that providing entertainment for the common man has been the ethos of the (Tucson) Rialto since its construction. The conventional wisdom in 1919 was that the two East Congress Street projects were foolhardy. It was pie-in-the-sky fantasy that Tucsonans would venture that far east, said no less an authority than the editorial board of the Tucson Citizen. But that assessment was proved incorrect in short order. Kevin Costner’s Field of Dreams sentiment “if you build it, they will come” must have been preminisced by the Curlett firm. In 1920, when the Rialto opened, motion pictures or “photoplays” didn’t predominate the theater business as they would a decade later with the arrival of “talkies” (The Rialto itself sported a lighted mini-marquee in 1930 that read “Our Screen Talks!”). The fare in most theaters at the time was vaudeville – dance, comedy, and singing – interspersed with newsreels, cartoons, and short-subject silent films, as well as the occasional feature. The first full-length film to play on the Rialto’s screen was The Toll Gate, on August 29th, 1920. Written by and starring William Hart, the film was a precursor to the type of Westerns that were frequently filmed in Tucson (although it had been shot in Sonora, California). You could say that Hart was the silent era’s Clint Eastwood, and you wouldn’t be stretching the truth that much. At the time, the Theatre possessed a majestic Kilgen pipe organ that cost $7500 (nearly $80,000 in 2004 dollars) which was later shipped to the Yuma Theater (also a Harry Nace property; see below for more) as part of the Paramount revamp. The organ’s music would accompany silent films. The lacunae left by the removal of the organ and its pipes are somewhat sad reminders of the Theatre’s earliest era. Further accompaniment and the overture that began every show came from musicians in the smallish orchestra pit that sat in front of the stage. In the beginning, city father Emanuel Drachman owned the majority interest in the Rialto. His son Royers (“Roy”) handled management duties at the Theatre for years when his father fell ill, leaving to work at another property in 1933. The Rialto had vaudeville shows every Wednesday that consisted of five different acts for the same price (“One Price House!” proclaimed some early advertisements, although that policy was later altered to put a premium on better seats). The fourth act on the bill was considered to be the star attraction and thus got the dressing room with the star on the door. This policy was somewhat altered by none other than Ginger Rogers, who was Charleston-ing her way to fame in 1925. The immensely popular dance had its roots in African-American styles and is named after the South Carolina city in which it was appropriated by whites. It was eventually supplanted by a dance called the “Black Bottom.” It is the dance from which the appellation “flapper” was derived, because practitioners appeared to be flapping their “wings.” On tour with her mother after winning a national Charleston competition held in Dallas, Rogers was booked at the Rialto but not as the fourth act. She took the dressing room with the star on the door, but when she and her mother momentarily left, the fourth act that evening commandeered it from the preening interloper. Upon their return and at her mother’s insistence, a star was added to the door of the dressing room to which Rogers had been relegated. To learn more on The Rialto Theater, click the link.
1 pointFact of the Day - PERSIAN EMPIRE Did you know... that the Persians created the world’s first Human Rights Charter? Although the Greeks were the ones who invented democracy, the world’s first human rights charter came to be in Persia, back in 539 BC. The charter, shaped like a cylinder, was created under the orders of King Cyrus the Great – the very founder of the Persian Empire. It contains the concepts that are familiar to anyone who’s ever read a human rights charter today – equality for all races, languages and religion. After all, the Persian Empire was quite diverse. The charter is written in the Akkadian language and is known as the Cyrus Cylinder. They were the pioneers of refrigerator technology. Of course, the Persian Empire didn’t invent the huge white refrigerators produced by LG that we use on a daily basis. However, their technology known as Yakhchals was quite helpful in preserving food. In essence, their “refrigerators” were large underground chambers built with the help of nature, or more precisely wind. The wind catchers, combined with ice and heat-resistant mud bricks on top, helped with preserving the food during the (very) hot Persian summers. They invented Paradise. Not in the literal sense, obviously – although the Paradise Gardens could arguably be seen as such. The term for beautiful, well-groomed gardens was “pairi-daeza”, which is where the English word “Paradise” comes from. Persian extreme climate conditions made it hard to tend to Paradise Gardens, but that just made them all the more impressive. The gardens, also founded by Cyrus the Great, were considered to be places for taking refuge for people, as well as animals, which makes the term “Paradise Gardens” all the more appropriate. They followed Zoroastrianism. The world’s first monotheistic religion was rigorously followed by the Persians. Prophet Zoroaster was a very significant person for the people of the Persian Empire. However, since it was such a diverse nation, each culture was allowed to follow their own religion. Nevertheless, Zoroastrianism is considered to be a defining feature of the culture of the Persian Empire. Unlike the religion of the Ancient Greeks, Zoroastrianism didn’t consider gods to be of the same nature as men. Persian Empire was a model bureaucratic nation. Indeed, the Empire had a very solid government and societal structure. The class division in the society was very clear. While the person ruling over the entire Empire was the King, the nation was divided into provinces, each ruled by a governor known as “The Satrap”. This was fist done by King Darius in order to prevent each region from gaining too much power and conspiring against him. The Satraps were very good at enforcing law and order, and worked extensively with the Empire’s military forces. However, the kings did not usually trust the Satraps, and frequently used spies in order to prevent corruption in all provinces. They ruled over almost a half of the world’s entire population. In 480 BC, the population of the Persian Empire was 50 million, which at the time was 44% of the world’s entire population. This figure was, and still remains, the highest for any empire in the history of the world. For comparison, the population of the United Kingdom today is also about 50 million. Emperors called themselves “The King of Kings”. The Persian emperors demanded total and complete obedience from their subjects – hence their distrust of the local Satraps. Each emperor called himself “The King of Kings” in order to establish and enforce their status and make sure that the subjects understood that the King was the most important figure in the Empire.
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