#haarpe

[reality-detective]

Never Before Seen Mountain Top Tornado 🤔

[finitevariety]

Blackthorne's 'consider living for meee 🥺' gambit is sooo good because the obvious rejoinder (consider how little your feelings matter in the face of all Mariko has endured) is one he is already WELL aware of. It's so obvious that the only reason he's trying this fucking where's-my-hug style gambit is because there's literally no other option available to him--beyond, that is, accepting her plan.

And in the end what's a truer expression of love than that moment, holding the blade above her, waiting?

He doesn't understand the choice she's making--in fact, he hates it. After all, his whole life in this country has been in essence a second life. He was rebirthed starving and scurvetic and fucking stinking, covered in guts as he emerged from the pit! Life takes you to the edge and back again but so long as you are at its table there are always dice to be rolled. Death is, therefore, defeat, and off the table entirely. It is never a choice.

Blackthorne feels that as he experiences the world, so he defines it. If he ceases, the world ends also. It's not a selfish feeling: it comes very naturally to very many of us. What's the point in thinking about the world without us in it? We can no longer influence it, nor reap its rewards. He will probably always feel this, and for him it's true.

For Mariko, though, death is the reason she was kept alive. Her life has meaning to her, of course. Yet that subjective meaning--her experiential life--is subordinate to and distinct from her life's purpose. She has always stood where she was supposed to stand, left the room when it was time, known what to say--and she knows, as clearly as the trees know when to drop their blossom, that her death is always an option. Death confers a meaning onto her life that extends beyond her subjective experience and into the world. If she ceases to be, the world will react to it--and from her death, if she uses it correctly, a thousand ripples will emanate. She has gone through her whole life feeling this, and for her it's true.

Blackthorne talks in this episode about the simple words he has picked up in his time here. These pale in comparison to what he has learned about translation, which is: some things can never be communicated in a way you will understand. That does not mean they are untrue. It does not even mean your own, opposite truth is rendered false!

Sometimes all you can do when you love someone is make their incomprehensible choice easier for them to bear.

[glass-needles-and-futurisms]

I can't do a full group photo yet because I still need stands for the dolls, but I finally finished the band, instruments and all!

[cherrylng]

Muse HAARP Interview - Matthew Bellamy & Dominic Howard [ROCKIN'ON (May 2008)]

"I think people want an experience where they can feel connected to a lot of people and themselves. I think a lot of people feel isolated and irrelevant to each other in today's culture. We're in an age where we feel like we have extremely little or nothing in common with the people around us."

Release of the live DVD 'HAARP', a non-standard live DVD by a non-standard band! A thorough examination of the chemistry of Muse, the stadium band of the new era!

Interview by Shino Kogawa / Interpreter: Momoko Iwata

Muse's massive concert held at London's Wembley Stadium on June 16th and 17th, 2007, which attracted 80,000 people (of course it was sold out) in one day, was an incredible stage that exposed the band Muse's unconventional structure and extraordinary performance, and has already been talked about many times as one of the major music topics of last year. However, when I watched the DVD "HAARP", which is a package of the two days at Wembley, I still felt like I was going to be blown away, even though I was fully aware of the characteristics of Muse. It is not simply the sheer volume of 80,000 people that is amazing, it is the surprise at the 'volume' of Muse's music that makes you think it is natural to swallow 80,000 people, and the excitement at the scale of Muse's music that makes you think stadium rock is neither nostalgia nor a commercial necessity, but purely an 'absolute requirement' in this day and age. We spoke to Matthew and Dom.

MATTHEW BELLAMY INTERVIEW

Watching the DVD again, it's a truly extraordinary show. With the monumental stage packaged, for the first time you could objectively question the meaning of 160,000 people for two days at Wembley, what is the most intense moment of feedback? 「There were a few, but during 'Blackout' two professional acrobats dangled from helium-filled balloons and danced on top of the crowd, which was a magical moment. It was a magical moment, especially for us, because the audience's attention shifted from the band to the two of them, and we could relax a bit and enjoy the dancing. We weren't just performers from the beginning to the end, but we were able to experience it from the audience's point of view, so in that sense it was my favourite moment at the show, and I'll never forget it. Also, I think we will always remember how nervous we were in the first ten minutes before we went on stage on the first day. It was the most nervous I've ever felt, my mind went blank and I felt like I was completely empty. It was almost like an astral projection experience, as if I was looking at myself from the outside in that state, and finally, about five or ten minutes into the show, I started to feel normal again. There was so much pressure and tension that my spirit just slipped out of my body, or something like that.」

Can you tell us about anything that you didn't realise from the stage that day, for example, that you only realised after watching this video? 「When you're playing in a big venue, you rarely get to see each and every face in the audience. So for us, it was great to see the faces and expressions of the audience up close in this way. When we were editing the DVD, we made a conscious effort to include these images. Also, the acrobatics during 'Blackout,' which we talked about earlier, we actually wanted those two to be the main characters, not the band, as we felt they were…………… We wanted to create that weird feeling of the two of them flying above everybody, like Mary Poppins. That's why it took a lot of work to edit the film so that you don't see the wire that's holding them up. We wanted it to look like they were really floating above the audience.」

Can you tell us about the origin of the name HAARP? 「HAARP stands for the "High-frequency Active Auroral Research Program", a device invented by a man called Nikola Tesla and installed in Alaska by the US government. Some say it's a weapon, some say it's a communications device, some say it's a mystery, but it's a device that can send radio frequencies into the ionosphere (※the layer in the upper stratosphere where radio waves are reflected), and according to Nikola Tesla's research and hypothesis, which the US government purchased, it can manipulate the weather by doing so. Well, this is another conspiracy theory with a quirk. I used a photo of the device in the sleeve of Black Holes and Revelations, and the antenna of the device was actually the original idea for the stage design of the show. There were a lot of metal sets and antenna-like things in this show, and we were going for a design that all looked like HAARP antennas. You could say it was inspired by conspiracy theories, you could say it mimicked a giant communications device, or several communication devices, in short, it's a bit of a strange design like that, and the little light in the triangle symbolises an all-seeing eye.」

Wembley Stadium was not built as a live hall in the first place, so what were the areas you paid the most attention to in terms of acoustics, and what was the most difficult part of recreating Muse's dynamic and detailed music? 「Outdoor shows are always difficult in terms of sound production, both because the place is so big and the echoes are so strong. But we didn't want to compromise on either, so we decided to start with a surround system and put speakers around the whole stadium. That way, the people in the back could hear the sound in real time, as the speakers were very close to them. We rehearsed a lot before the show, but the reverberation was so strong that it was quite difficult to play. The rhythms were all messed up, so we rehearsed more and got used to the echoes and got ourselves to the point where we didn't get dragged down by them. The hardest part was when we were playing away from each other, then you could hear the other two players both in the monitors and in the echoes. But this was more difficult in rehearsals, because when the audience actually comes in, the sound is absorbed by them and the echoes are much less. But now the audience's shouting echoes (laughs)… Well, it was still more fun to listen to.」

The euphoria of 80,000 people in unison during "Starlight", the chorus of the intro to "Knights of Cydonia", the spectacular soundscape and unquenchable afterglow of "Take a Bow". There's no shortage of great moments in this collection, but which song was the most satisfying in terms of the quality of the performance? 「I think it was Knights of Cydonia, because we were so nervous that we weren't sure if we were going to be able to play that opening number well. It was a difficult song to begin with, so it took a lot of courage to open with it. But looking back on it now, it's the most memorable song because it symbolises the change from starting out feeling very nervous to becoming more and more relaxed and enjoying the performance and the show. By the end of that song, we and the audience were really excited, and that led directly to the atmosphere of the whole show.」

On the other hand, there is a negative image of stadium rock as a product of 'old-fashioned rock'. What can you say Muse proved with this Wembley 2-Day show? 「I think we proved that the fans of today also want to enjoy large-scale concerts like this, and want to have fun with many people. I think the fans' desire to do so may be even stronger than it was ten or fifteen years ago. Especially in the last three or four years, big festivals and concerts have become popular, and it might have been the fashion in the 80s, but it's been a long time since then. I think people want this kind of experience where they can feel connected to a lot of people. I think a lot of people in the culture these days feel that way, like they're isolated and irrelevant to each other. We're in an era where you feel like you have extremely little or nothing in common with the people around you. For example, if 60,000 people gather at a show or festival, everyone there likes a certain band or a certain style of music, so something that is common to 60,000 people seems very pure in this day and age. I think those two nights of shows that we did showed to the outside world that everyone's desire to have something in common with other people, to have a common experience, is stronger than ever.」

The overwhelming dramaturgy of Muse's sound was strongly felt again on this DVD. I think this is Muse's unique character, which goes to the opposite extreme of UK indie rock that plays a life story on a scale that suits its stature. Is it partly because of the extreme size of the stadium that you were able to realise 100% of your individuality? 「I think you're right. There are a few of our numbers that are better in a big space like that. "Take A Bow", parts of "Knights of Cydonia", and "Blackout", for example. I think songs with such overwhelming emotion make more sense when there's a bigger audience. I don't really know why that's the case. I think the dramatic elements of the songs are made even more profound by the unique tension and energy that a space as big as a stadium and a big audience can create.」

Do you think the Wembley Stadium show was some kind of milestone for Muse? 「I think we've always had the opportunity to try something new towards the end of a tour, not just this time. Arenas, theatres, and stadiums are all very different experiences, and on the 'Origin of Symmetry' tour we only played one arena show at the end, which was very exciting. On the next tour, the 'Absolution' tour, we started to play at various festivals towards the end… Glastonbury and Reading, we were even surprised that we were there before we knew it. This time, we've been playing festivals from the beginning, and now we've got a stadium show waiting for us at the end. We've learnt new ways of playing live, new ways of presenting the stage, new ways of making people listen, so I hope we'll have more opportunities to play stadiums around the world. At the moment it's only in France and the UK, and in other countries it's still festivals or arenas. After doing it this time, we want fans in other countries to be able to see a show of this scale. I think there have been milestone shows with this band that have represented that. For example, we played our first arena show in France, and the first time we headlined a festival was Glastonbury.」

Incidentally, when we spoke to you last summer, you said: "We have a lot of good rock songs, but not many really great soft songs. I'd like to explore that area in the future." Has the vision for the new album become clearer since then? 「Right now, we have a lot of ideas, but we haven't decided which area we're going to go into yet. It's only when all three of us are together and we start rehearsing that we'll be able to see what's going on. We're on holiday at the moment and haven't played together for about a month. So I have no idea what the next album will sound like, but if I had to say, I think it will be an extension of Black Holes and Revelations. There are a couple of areas that I'd like to explore more with what I tried on that album, and other than that, I'd like to explore a more classically-infused rock sound. Another thing I'm thinking about at the moment is trying some of the new songs out live before we record them. We didn't do that with any of the songs on the last album, but this time we want to try them out live before we record them.」

Are there more shows planned for this summer? 「Yes, a few shows, really. Dubai, South America, and the V Festival in England. And a charity concert at the Albert Hall. So I'm hoping to try out some of the new songs live over the summer or so, to help me decide on the direction for the next album before I record it.」

Apart from that, do you intend to concentrate on the new album this year? 「Yes, we're building our own studio at the moment, so for the first time we'll be able to work in our own studio. So we don't have to worry about time as much as we used to, and we're going to be able to try out more things than usual, which I'm really looking forward to. In fact, I'm looking forward to trying things out and seeing what new things emerge, so I want to be open to that possibility, and in that sense I don't want to go in too detailed a direction at this point. We're going to try all sorts of things this time, and if the result is a completely unexpected style or sound, then I'll be very happy about that.」

DOMINIC HOWARD INTERVIEW

What is the most powerful feedback moment in the memory of 160,000 people over two days at Wembley? 「I'll never forget being extremely nervous before the show. When I got in front of everyone at the stadium, I thought my heart was going to burst out of my chest (laughs). But at the same time I was really excited, and when the show started and I saw how the audience got really excited, all the nerves I had been feeling blew away. I realised that if I didn't have time to be nervous, I should just enjoy it as much as possible, and in fact, the performance went well and the audience got really excited, so it was great. I was just full of emotion from the beginning to the end. Also, the acrobats hung from balloons and danced on top of the crowd, which was great. It was a nice moment for us to take a breather and watch them dance while we played. Those two nights were amazing, all three of us were on a high for weeks afterwards (laughs).」

At the same time, is there anything you couldn't see from the stage that day that you didn't realise until you saw this video? 「Over the months after the show, I watched the footage of those two nights closely……. I also watched a lot of the footage that people had uploaded on YouTube themselves. Most of them were taken by phone and they were all great, but at the same time shocking. It was intense, emotional and…… Because the footage itself is terrible, but it's all from the perspective of someone who was there as an audience member, and some of them were crowd surfing, some of them were jumping up and down the whole time, and some of them were singing much louder than the band the whole time, and it was quite a sight for me to see them like that. I was like, "Who the hell are these guys?" (laughs). Watching some of those videos and seeing so many people enjoying our shows, of course you can see that from the stage, but seeing our gigs again from the audience's own perspective, I was overwhelmed. To think that we were able to connect with that many people was really inspiring.」

Was the decision to release Wembley 2 Days on DVD made before the show? 「It wasn't clear at first, but we did get the recording right. But that's something we do all the time, so it's not like this time was special. So, a little after the show, we watched the recorded footage again and there were a lot of really good moments…… I'm not talking about our own performance, but there was a lot of footage that really captured the atmosphere of the stadium that night. You could feel the energy of the people who were there, that kind of realistic footage. At the time, all three of us were on a high from the aftermath of that gig, so we were like, "We have to release this!" (laughs) But playing a show of that scale in that stadium was an important milestone for the band, and we wanted to share it with the audience, even if they were the only ones there to see it.」

What was the most difficult part of the stage design? 「The width of the stage was quite wide, so I wasn't sure if HAARP would be able to fill the space. I was also worried about the fact that there was no roof on the stage (laughs). It was a completely open stage and there was no roof, so we had to light the stage from the side or from below, and the thing that worried me the most was the rain. But luckily it didn't rain, so that was good. Still, simply getting everything to run smoothly was a lot of work in itself, and we also had to create new visuals for the screen, introduce new camera technology, and in any case introduce a lot of different things that we hadn't done before and make them our own in a short period of time, so it was quite a challenge.」

Which songs have you been most satisfied with in terms of the quality of your live performances? 「First of all, "Stockholm Syndrome". That song always sounds good no matter what venue we play it in (laughs). It was perfect this time, it was a lot of fun to play and I also really liked the way it was captured on film. The visuals on the screen, which looked like an old video game from the 80s, suited the song. The number itself is full of energy and chaos like that. Also, "Knights of Cydonia" was pretty good. The crowd was so excited, partly because it was the opening number, and when the riff came in towards the end of the song, everyone was going crazy, and I almost stopped playing because it was so loud (laughs). I also like "Blackout". It was a different atmosphere because of the acrobats, and it was nice to have the crowd's attention shifted away from us and relax a bit.」

At the beginning of the show, the three of you walk from the centre of the arena to the stage through the flower aisle, right in the middle of the audience, just like Moses splitting the sea. If you had to describe in one word the emotions that were swirling around inside you as you walked over there, what would it be? 「I remember very well that everyone was screaming like crazy, it was all so surreal. I don't know if it was happening in real life or not. At the same time, I remember I was really excited and getting really pumped up. As I walked around looking at everyone's faces at close range, I was getting more and more excited. But it's a really bizarre experience to have someone shout at you that close up (laughs).」

(laughs). From your vantage point on the drum set, how well could you see the audience? 「I could see pretty well. In the first half the sun was still bright. I try to look further away from the audience, not at the front row. That way I check the whole scene, rather than just looking at certain people. But you might think it's surprising, but at that show I could see quite well from here. Right down to the last row of the stadium. At a normal gig, you can hardly see anything because of both the darkness and the glare from the lights, so in that sense, it was good this time. Also, some of the songs were pre-decided so that the audience would be illuminated. Well, we always do that, but this time we wanted to see how the crowd was getting into it, so we did that more often than usual. That's why I was a bit scared when I saw them (laughs). When the stadium gets dark, you can't see anything, but then suddenly the lights come on and the whole place comes to life. That was an unforgettable sight.」

On the other hand, there is a negative image of stadium rock as a product of 'old-fashioned rock'. What did Muse prove with this Wembley 2-Day show? 「I think that stadium rock may have been popular in the 80s, but nowadays there are more and more people who want to see good live acts. In the same vein, I think stadium rock is becoming cool again. We'll make it cool again (laughs). But it's true that a lot of bands are actually playing big concerts, like Coldplay, Radiohead, and Arctic Monkeys. So I think the trend of the times, or what people want to see, is moving in that direction. We were the first band to play at the stadium, so I guess that's pretty good (laughs).」

Is the overwhelming dramaturgy of the Muse sound in part 100% possible because of the extreme size of the stadium? 「Yes. Especially with some of the songs, the huge space made it possible to showcase them even more than usual…… The songs that were originally large in scale filled the space well, and the ones that weren't, at least they didn't get overshadowed by the venue. At the same time, how we played those songs was also important. In fact, we play a bit differently than usual, for example, our gestures are naturally larger to fill a larger space. In that way, it's all up to you. How to show and make people listen in that much space. On the other hand, in a smaller space, I can play like I'm being wrapped up. So in short, it doesn't matter how big the venue is, it's important to adapt ourselves to the place.」

Would you say the Wembley Stadium show was a milestone for the band Muse? What are your next goals? 「For now, I guess it's just finishing the next album (laughs). I'm going to concentrate on that this year. We've done two stadium nights here at Wembley and one in Paris, but it feels like we're not done yet (laughs). The production was good, the stage design was pretty cool, and I think it's a shame that it only ended with those three shows, and I'd like to do more in the future if the opportunity arises.」

Translator's Note: A short interview, but a good one.

[esotericimagesforredpilledpeople]

[mslanna]

can't stop won't stop

[scogito]

La "stimolazione" climatica.

Tutto sotto il naso, o in teoria quel tanto che basterebbe per andare al di là di esso.

[awesomecooperlove]

💣💣💣

[constantly-deactivated]

'A 500-foot-wide asteroid called 2010 XC15 will pass by Earth on December 27. While its path has no intention of hitting us, it’s us who will hit the asteroid with a radio pulse.'

Now this has me asking questions. Since HAARP is involved in weather control and other crimes against humanity... "What are these radio waves going to do to humanity? What's it going to do to earth, our food source, and the air?"🤔

[infowarsrzk0]

https://www.facebook.com/photo.php?fbid=446016647780571&set=p.446016647780571&type=3 , #ALERTA #TERRORISTAS de #EEUU🇺🇲#UK #ReinoUnido🇬🇧unen Fuerzas 💪 para defender al "TERCer" #TerroristaSIONISTA @Israel🇮🇱del ataque de #Irán🇮🇷@RNacional_News @JOEBIDEN @NETANYAHU ESTOS #PUERK0Z USARAN EL #HAARP🚨#BLUEBEAM #MKULTRA #CHEMTRAILS #CODIGOLUZIFER🐷https://guerracivil2024.blogspot.com/

[aressida]

Australia - Melbourne Weather: Winds hitting 141km/h in my area. - Aressida. 2.9.24.

Life in Victoria has been intense with the recent weather. Yesterday, we faced winds hitting 141km/h in my area, typical of spring, but still harsh. The damaging winds were mostly in the higher areas, but everyone felt it. Victorians were told to stay home as the storm worsened, and by 5pm on Monday, at least 58 flights had been canceled. The SES was swamped with nearly 3800 calls for help, mainly about building damage. Frankston, Morwell, Warragul, Emerald, and Moe were some of the hardest-hit places. Sadly, a woman lost her life when a tree fell, and over 100,000 homes are still without power, with some possibly in the dark for up to 72 hours.

It was a wild and noisy night in Melbourne. The wind was relentless, shaking the house and making it hard to sleep. I could hear the trees almost screaming in the wind. A big branch snapped off and blocked the road and broken fences, so neighbors had to go through the park on the grass and go around it. Our trampoline did not do well either, it flipped over and got stuck on the cubby house, wrecking the peas garden in the process. That’s on the list to fix tomorrow.

Australia's known for extreme weather. We are all just trying to get through it.

--------------------------------------------------------------------------

Here are some people passing around and share their story and articles:

-> https://www.news.com.au/technology/environment/evacuate-now-parts-of-tasmania-issued-evacuation-warnings-as-watch-and-act-warning-in-place-for-victoria/news-story/73b727a6faa7fdb64e324c68ac6755d9

(Toora South Gippsland Victoria.)

[reality-detective]

Meanwhile in the Florida Keys. 👀 🤔

[finitevariety]

tom wambsgans is the type of man to make out with a scarecrow then scream at it that he's married before fucking it anyway

[tinyshe]

While HAARP and weather control has been called a conspiracy theory by the mainstream media and government officials, during a Senate hearing on Wednesday, David Walker, deputy assistant secretary of the Air Force for science, technology and engineering, dropped a bombshell in answer to a question asked by Lisa Murkowski in relation to the dismantling of the $300 million High Frequency Active Auroral Research Program in Gakona this summer.

Walker said this is “not an area that we have any need for in the future” and it would not be a good use of Air Force research funds to keep HAARP going. “We’re moving on to other ways of managing the ionosphere, which the HAARP was really designed to do,” he said. “To inject energy into the ionosphere to be able to actually control it. But that work has been completed.”

Many believe HAARP was created and has been used for weather control, with enough juice to trigger hurricanes, tornadoes and earthquakes and comments such as this bring about the question of whether conspiracy theorists are more on target than anyone has admitted to date.

This is not the first time a public official has acknowledged that HAARP and weather control is not only possible, but has been and continues to be, used as a “super weapon,” as evidenced by a statement in 1997 by former U.S. Defense Secretary William Cohen, where he said “Others [terrorists] are engaging even in an eco-type of terrorism whereby they can alter the climate, set off earthquakes, volcanoes remotely through the use of electromagnetic waves… So there are plenty of ingenious minds out there that are at work finding ways in which they can wreak terror upon other nations…It’s real, and that’s the reason why we have to intensify our [counterterrorism] efforts.”

Is it still just a conspiracy theory if public officials admit it is true?

Watch the question and answer session below:

[esotericimagesforredpilledpeople]

[mslanna]

going absolutely FERAL about my beauty and the beast au, kicking screaming vomiting

they are both so STUPID

tav asks rafe to take their body off haarps menu because they do not like squirming though the house and rafe is all: no prob, off limits for all guests and visitors (because, yeh no prob, who do you think is using Tav's form all the time?!?!no rafe, doing the deed when tav sleeps won't hold up forever enjoy that mess when it comes to light)

also rafe: gonna take my form off haarps menu except for tav so I will know exactly whenever my mousling gets hot and bothered. unfortunately, Tav wants to do the do with rafe and not haarps so the feedback is echoing silence and rafe is fuming in frustrated rejection

they are both so bloody stupid 😭