#its been... 20000 years.....

[gay-for-stanford]

was thinking about Nemo and Aronnax today

(that’s it thats the whole post)

[ayr0b0t]

TIME FUCKINF DEO??? ITS BEEN 20000 YEARS OH MY GOD TIMEDEO

[volcanicmudbubbles]

So what exactly is the Crawford siblings’ story? I’m trying to detangle the paragraph of explanation in Mansfield Park. This is what I get.

Henry and Mary are the children of their mother’s second marriage. They have an older half-sister.

We don’t know much about their father, except that he dies when they’re still children.

(Their poor mother! Twice widowed with three children to raise.)

Their older sister marries and moves away, and almost immediately afterward, their mother dies. Henry inherits an estate and Mary inherits 20000 pounds, but they’re orphaned and still just children.

So!

Our orphans go to live with their father’s brother and his wife, their aunt. The aunt adores Mary, the uncle adores Henry. “The Admiral delighted in the boy, Mrs. Crawford doted on the girl.” They have some love and stability in their lives.

But then their aunt dies — these poor kids! — and their uncle moves his mistress into the house … without marrying her.

By this time they are “out,” and having her uncle’s mistress in her household is a social disaster for Mary. She and Henry leave their uncle’s house and Mary moves in with her older half-sister — remember her? She probably hasn’t seen her sister since their mother died, but the two seem to have affection for each other. Her sister offers her a home from love, not only obligation.

And this half-sister lives down the road from the Bertram family.

Of the uncle, Austen says, “Admiral Crawford was a man of vicious conduct, who chose, instead of retaining his niece, to bring his mistress under his own roof.”

In its modern usage, that would mean the Admiral is cruel, like General Tilney. I don’t think that can be right, though. If he were cruel, he’d not have loved Henry, and he would have embezzled their money. I think Austen intends vicious to mean vice-filled — that is, immoral.

So the Crawford siblings experience what could have been a sad, lonely, precarious childhood, with someone central to their safety dying every few years; but each time someone dies, another person appears who loves them, and offers them a home. No one is cruel. Their uncle is selfish and heedless of Mary’s reputation, but no one is cruel.

What a contrast to Fanny’s life! Everyone in Fanny’s life is still alive — but she probably feels orphaned.

[txttletale]

What are your thoughts (lorewise) on Warhammer fantasy so far and what's your favorite faction

i love skaven. ive been a skaven fan for like 20000 years ever since i briefly played actual tabletop. they're just funny little guys :)

when warhammer is good it's because it's embracing its original 80s gonzo spirit of 'just throw any old pop cultuire shit in there and figure it out later' -- i love how the skaven are, like, cartoon mad scientists with nuclear power and genetic engineering and also stupid rats who love scheming and betrayal anbd they waltz around with giant fucking flesh monsters and gatling guns and Combat Hamster Wheels. ther'es other stuff in this vein that's good too: orcs being english football hooligans is never going to stop delighting me, the tomb kings are a really cool concept, the vampire pirates (as far as i'm aware a CA invention?) are so fucking goofy and they rule so so hard.

overall though there's al ot of really really uncomfortable undertones to the world of warhammer fantasy. first of all there is the straight up racist shit, i love the lizardmen (i am currently deep into a mazdamundi campaign) and some of their lore is really interesting and in some ways avoids some of the common pitfalls of 'fantasy indigenous peoples'--it's made very clear they are an advanced society, technologically and socially complex, with a rich culture and history. but the lazy aping and blending of half-remembered maya/aztec aesthetics and the '''''funny''''' joke names they have and the fact that they are ancient and mystical and Not Of This Age just adds up to them being a really racist caricature of mesoamerican societies.

also WHF leans really really really hard into the biological determinism stuff. i love the skaven but the fact that they're a rapidly breeding menace that secretly infiltrates your cities and kidnaps people and gorge themselves on resources and have an Evil Religion and are As A Race predisposed to treachery and viciousness and are depicted as literal vermin brings to mind yknow the place all these tropes hold in the racist and antisemitic cultural imaginary and it definitely makes me kind of uncomfortable. i think the same can be said of the (also straight-up racist) depiction of beastmen as Tribes and Hordes that are very literally More Animal Than Human. like, there's so much of That Shit, of X Race are Biologically Fundamentally Like This, and the Like This often happens to coincide with a constellation of tropes used to demonize and justify the extermination of real people, and i really hate That Shit.

i also find the (also quite typical of fantasy) Order (Good) and Chaos (Evil) moral distinction to be pretty ideologically repugnant

so overall, yknow. mixed feelings innit. that said i'm having an absolute blast with TWWH2 this shit rules im driving my big dinosaur around and eating mother fuckers

[cherrylng]

Matt Bellamy's 2nd 20,000-character interview - Muse [ROCKIN'ON (November 2012)]

MUSE "The 2nd Law"

Interview by YUKIKO KOJIMA

A shocking evolution!

How can only Muse evolve against the laws of the universe? Matt talks about his upbringing, the formation of the band and all the albums in this definitive 20,000-character interview!

On October 3rd, Muse's sixth and latest album, "The 2nd Law", will finally drop in Japan. Their previous album, 2009's "The Resistance", reached number one across the board in 19 countries upon its release and even snatched a Grammy Award that year. Of all the young UK guitar rock acts of recent years, Muse were the only ones to achieve such a global-scale feat. How could Muse be the only band to achieve such a feat in a scene where there are calls for a ‘guitar rock crisis’? Why did Muse always defy the ‘principles of nature’ in such a way, and why did they continue to win, despite the public's view that they were ‘heretics’? The whole world is waiting with bated breath for the new album, which hints at what's to come ‘next’, and on the afternoon of September 6th we caught up with the band again at a studio in London, where they were rehearsing hard for their tour. Matthew Bellamy, who has been Muse's main songwriter since the early days of the band, tells us all about Muse. Growing up in a musical environment that was like an encyclopaedia of 50s-80s rock/pop music, with a father who was a former rock star. His first taste of electric guitar and blues rock at around the age of 11 or 12. This interview covers everything about Muse's evolution, including the history of the band before and after their debut, which was by no means an "easy path to success," and of course the behind-the-scenes stories (+secrets) of the production of all six albums. Read it in conjunction with the interview in the September issue, which already details "The 2nd Law", and you'll get a deeper understanding of where they are now. Next January, the band has just officially announced their ‘Live in Japan (January 12th + 13th @ Saitama Super Arena)’, which Matt revealed to us during this interview. Take this opportunity to witness Muse's ‘next’ before anyone else. -Yukiko Kojima

MATTHEW BELLAMY 20000 WORDS INTERVIEW

"It was the Cream album that got me into guitar. I guess my starting point was all in the album I listened to that day."

Today's interview will focus on you, the band's main songwriter, but will also be about ‘Muse's band/music history’ to date. 「Yeah, okay.」

Let's start with your musical history before Muse was formed. According to your public biography, you started piano lessons when you were around 6 years old and guitar practice when you were around 12. How did you first encounter musical instruments? 「I first came into contact with musical instruments when I was around 6 years old, when I started playing with the piano we had at home as a toy, so I didn't learn how to play formally from a proper teacher, like in a normal lesson. So I started playing an instrument purely for my own enjoyment. My parents wanted my brother to take formal piano lessons at first, but in his case, because he was forced to do so from childhood, he ended up hating playing the instrument (sarcastic laugh). My parents had such a painful past, so they tried to create an environment where I could discover the joy of music in a more natural way. They didn't pressure me to take piano or guitar lessons every day, but instead encouraged me to just naturally start playing with the instruments around me when I liked them, and eventually discover the joy of playing them myself. Thanks to that, my relationship with music is still very positive. I'm very grateful to my parents in that sense. I did learn some rudimentary playing techniques on the clarinet during music lessons at school when I was in primary school, though. That's the only time I've ever had any kind of formal lessons on an instrument. Everything else was self-taught, whether it was the guitar, which I started playing when I was about 11 or 12 out of curiosity, or the Hammond organ, Mellotron and synths, which I gradually got into after I started playing in school bands.」

I see. So what got you interested in rock/pop music in the first place? 「Probably…… It probably came from my family background, but my father was also a member of a rock band when I was younger (he was the guitarist for The Tornados, a popular 60s band that had the first ever number one hit single in the US with "Telstar" in British rock history), so he had a huge record collection. Thanks to that, my brother and I have grown up listening to all kinds of records from the 60s and 70s, rock, beat pop, blues, R&B, jazz, country, folk, and all kinds of genres every day from the time we were old enough to understand. Because of that environment, rock/pop music for me wasn't something quirky or special, it was just a normal part of my everyday life.」

So, what artist and what work awakened you to the ‘special and real joy of pop music’? 「Hmm…… I think it was Ray Charles' records that first introduced me to the joys of piano-based popular music.」

You were obsessed with Ray Charles at the age of 6?! 「No, I think I was already 7 or 8 years old by then.」

I think it's amazing to be a kid who's into Ray Charles at the age of 7 or 8. 「(laughs) Well, that's because I was into that kind of boogie style piano playing at that time. But at the same time, I was also listening to more rock/pop-oriented genres. Buddy Holly, The Beatles, The Rolling Stones. My father also liked American country rock like Crosby, Stills, Nash & Young, so we often listened to that together. My father's musical tastes originally ranged from 50s rock ‘n’ roll to 60s and 70s rock. We had all kinds of records from that area at home. My mother's tastes, on the other hand, were more contemporary from a later generation, more synth pop from the 80s onwards. She loved Duran Duran, Ultravox, Eurythmics, Prince and especially Queen, and we had all their records, so I grew up listening to a lot of that 80s pop with my mother. So I had everything from 50s to 80s rock/pop at home, but I didn't have any classical music records at home. So I guess you could say that the classical-ish element was the only influence I could find and acquire on my own.」

So it was the ideal family environment for a music-loving boy. Who and what was the first record you bought yourself, for example? 「In my case, I didn't buy it myself, I just borrowed it one day from my brother's record collection (laughs). It was a Cream compilation album [1] that got me into rock electric guitar for the first time in my life. I was around 11 or 12, I think? One day I was going through a pile of analogue records and CDs in my brother's room and I found some Cream records. I thought, "Huh? Blues rock? Sounds interesting!" I started listening to them and got hooked, and that's when I started playing guitar myself. And that's when I started to seriously listen to my father talk about blues music theory and history for the first time in my life, and that's when I became interested in guitarists with a blues-like sensibility. That's when I got into Robert Johnson and Jimi Hendrix. So I guess you could say that my starting point as a rock musician all started with the Cream albums I listened to that day. I think that probably has a lot to do with the fact that I still stick to a three-piece band formation.」

Now that you mention it, both Cream and Jimi Hendrix were three-piece bands. So that's the reason why Muse started out as a three-piece band in the first place. Incidentally, your guitar playing has been recognised for its skill and original style since the early days of Muse. How did you acquire this kind of technique? You listened to Cream at the age of 12 and discovered the electric guitar. After that, you started playing in a school band. Who were the guitarists who inspired you? 「There are countless guitarists that have influenced me and that I like, but…… I'd have to say Tom Morello of Rage Against The Machine is at the top of the list. Of course, I still love Jimi Hendrix and Edge from U2, and I'm also really inspired by Johnny Marr's playing style from The Smiths. And if we're talking about the type of guitarist who isn't afraid to get into a kind of ‘crazy chaos’, I think Kurt Cobain of Nirvana is also a great expressionist. In the sense that he's not necessarily bound by technical rules when it comes to the bare emotion of rock ‘n’ roll on the guitar. I realised when I heard him play for the first time that it's better to tear up the rule book and throw it out the window, so you can let yourself go and create your own style of playing. I really think Kurt Cobain is an underrated guitarist.」

So what about your father, who is a professional musician? Didn't he teach you how to play when you started practising guitar? 「My father was waiting for me to develop an interest in the instrument on my own. He never mentioned the guitar before, but one day I was in the living room fiddling with the guitar, he came over and casually said, "This is how you hold down that chord," and taught me for the first time the basic concept of how to hold down the strings and how the right and left hands work together. But he said, "If I say any more than that, you'll pick up the playing habits of other people, which is not good, so it's better for you to find your own playing style naturally." So that's about the only guitar lessons I got from my father.」

By the way, when did you start to have the ambition of "wanting to become a professional musician in the future, join a rock band, and become successful!"? 「I had a vague idea that I wanted to be a musician eventually, from when I was about 9 years old. But at the time I thought I'd end up in a jazz band, not a rock band. I was just getting into clarinet and piano, so I thought I was more suited to a jazz band. I didn't become interested in rock bands until much later, when I started playing guitar around 11 or 12 years old and met Dom, who was in a local school band at the time. Dom was already a big rock fanatic even back then. Dom was already drumming in a band called Gothic Plague when I met him, and he invited me to join Gothic Plague, which was my first foray into rock as a musician.」

Before forming Muse, you and Dom were playing live in various local bands in your hometown of Teignmouth. Was that when you met Chris, who later joined Muse? 「Yes, Dom and I were in a four-piece band called Gothic Plague at the time, and Chris was in Carnage Mayhem as a drummer. Chris's Carnage Mayhem often played live as an opening act for our band Gothic Plague back then. And we also rehearsed in the same rehearsal space, so it wasn't long before we started hanging out with the band members. Chris became closer friends with us than the other members of his band, which made it easier for us to bring him on when the other members of Gothic Plague left later, hahahaha……」

(laughs). So, what style of music were you playing when you were in bands like Gothic Plague before Muse? The last time I interviewed you, you revealed some shocking information from your past, saying "There was a time when I was playing funk," which surprised me. Because Muse's dark, tense musicality and funk's light-hearted, continental groove are the polar opposites of each other, aren't they? 「I think I may have worded that a little wrong……. We were a cover band back then, so our live repertoire consisted of covers of other people's songs. We did a lot of indie rock covers, like Wedding Present, Ned's Atomic Dustbin, Nirvana, Sonic Youth, Mega City 4 and Senseless Things. In particular, Dom and I were big fans of Senseless Things at the time, and Morgan (Nicholls, former member of Senseless Things) started participating as a member of Muse's touring band around 2004 (he plays keyboards, bass and back chorus at Muse shows). We asked him to join us because we've been big fans of theirs since we were boys. ……So, well, to get back to your question earlier, I meant that the band that Dom and I were in at the time had funk-like songs as part of the repertoire that was formed by the various styles of music that we were covering. I didn't necessarily mean the ‘local bands that only played funk’ that were all over the place around Teignmouth at the time.」

However, in a previous interview, Dom called that period a "dark history". 「(LOL). But you know, generally speaking, the best thing about bands playing funk music is that they're very good performers. I think it was a great chance for us to hone our playing technique, because we were a cover band at that time, playing any kind of music, regardless of genre. So I personally am not ashamed of that period.」

(laughs) So it's not a dark history for you. I understand. So after the cover band period, when and what prompted you to start exploring the ‘Muse-like sound’ that you would later develop? 「I thought, ‘Instead of being a cover band forever, why don't we write our own original songs?’ This is something I've been thinking ever since Dom invited me to join Gothic Plague. I had started to develop some ideas for songs around that time. I suggested it to the other members a few times, but Marcus [2], the vocalist at the time, and Andrew, the bass player, weren't interested at all. I even went to Marcus' house once and played with him some song ideas I had been working on, and asked him if we could write a song together, but he turned me away with the words "I'm not interested in those songs" (sarcastic laugh). But only Dom was very supportive of my idea from the start and was very enthusiastic about it. So from then on, the four members split into two groups, and sometimes Dom and I would rehearse separately without telling the other members. It was when the vocalist and bassist left that Dom and I started to realise our secret dream. It wasn't that we kicked them out, though. Marcus and Andrew both quit the band at that time because they wanted to get proper jobs. So when those two left, we decided we had to break up Gothic Plague, and that's when me and Dom started doing our first real sessions together. I think Dom and I were about 15 years old. So it was around that time that we started to concentrate on writing original songs and creating sounds as a completely new band.」

Is that when you started doing vocals? 「Yes, we started off as a two-piece with Dom as drummer and me as guitarist, so someone had to sing, so I started singing myself. To be honest, I didn't want to be the lead vocalist, although I had a great desire to write songs. So when we started looking for new members after that, I was looking for another vocalist along with the bassist, but we couldn't find a vocalist who would fit our sound, so I ended up doing it myself. That's actually how I ended up being the frontman of the band, even though I'm morbidly shy. A few months later, I invited Chris to join as bassist, and over the next six months or so the three of us continued to play together and gradually developed our own band sound.」

"At the time, British labels were still looking for ‘pop bands like Oasis and Blur’. If we'd turned to a menswear-style sound back then, Muse's history would have been completely different."

It was only then that the current three-piece band came together and the band format "Muse" was born. So you guys were already sounding like Muse back then? 「No, our sound at the time was nothing like Muse. We had a more experimental, progressive sound with riffs, improvisation and jamming, and a lot of instrumental tracks with minimal vocal parts. At the time, every song was over 15 minutes long (laughs). It was more like Pink Floyd or Rush, a very progressive sound. And then I got out of the phase where I was only writing songs in that style and started writing songs that would later become Muse, rock songs with a clear structure like "Cave" and "Muscle Museum", when I was around 17-18 years old. Both songs are on the first Muse album. So I guess you could say that the origins of the current Muse sound all came from these two songs.」

I understand. So after that, you guys briefly called yourself Rocket Baby Dolls, and then around 1995, you changed your name to Muse, which is what you are now. At the same time, you decided to drop out of the local college and concentrate on the band professionally. Over the next few years you guys built up a fan base by touring the UK playing countless shows. 「Yeah, it was the only way we could do it as a fledgling band at the time. Back then, we were happy to go and play at any pub, even the smallest bar in the middle of nowhere, if we were offered a gig. I don't think there was a single small venue in the UK that we didn't play at. We experienced both the fun and the miserable aspects of touring the countryside back then (laughs). In fact, I think those days touring the countryside were a great chance for us to develop our skills as a live band, and I think it was a great experience in that sense too.」

After spending time touring around the countryside, the "Muscle Museum EP" was released on the indie label Dangerous in 1998. The EP suddenly reached No. 3 in the UK indie charts and was the band's first chance to make a name for themselves. Despite the fact that Muse had become the centre of attention from the national media, UK record labels at the time were reluctant to sign the band. 1998 was right in the latter stages of Britpop, so do you think Muse's early struggles with signing contracts were related to that situation? 「Yes, I think the situation of the scene had a lot to do with it. Around 1996, Britpop was coming to an end, but labels all over the UK were still looking for ‘pop bands that sounded like Oasis or Blur’ when signing new artists. Come to think of it, menswear was all the rage at the time…… If we'd turned to a menswear-style sound back then, Muse's history would probably have been completely different.」

That's a bit much (laughs). 「(laughs) Anyway, that's why the UK music industry has always been trend-driven. A newcomer like Muse who made a sound outside the mainstream was a big risk for any UK label at the time. That's why we didn't care about any country's label, and we decided to try out for a newcomer showcase event in Manchester at the time, just to test our mettle. At that time, none of the UK labels that attended the event were interested in Muse, but several American labels made very enthusiastic offers. After that, they started inviting us to showcase events for American labels in New York and LA. After three US labels continued to fight for us for a while, we finally chose Maverick (a label under Warner, then run by Madonna. They officially signed a contract with Muse in December 1998).」

Come to think of it, Muse was signed to different labels in different countries, and the band's popularity was also higher in European countries and Japan than in their home country of the UK, which was unusual for a UK band at the time. 「That was certainly the case…… Maverick was only in North America, then Avex in Japan, then we were signed with France, Germany, Scandinavia and other European countries, and finally we were signed with Mushroom in our home country, the UK. It was a great experience for us to sign contracts in different countries at that time. It also meant that we could get a good grasp of the differences in the reactions to Muse in each country. Anyway, we were able to realise at that time that Muse in the early days were more hated by the industry in the UK than in any other country in the world (laughs). Thanks to that, from then on we started to look at our band activities from a more international point of view, rather than focusing on success only in our own country. I think the change in attitude during that period was a great benefit for Muse going forward. Our musical horizons have broadened a lot since then. It's also in the sense that we're no longer trapped in the "homegrown, in-house sound" that so many UK bands fall into.」

"The reason our sound completely changed with "Origin" was because we did Magic Mushrooms (laughs). He [John Leckie] emphasised that this was the only way to break out of our shell."

Speaking of a home-grown sound, when you first debuted with Muse, you must have disliked the Britpop bands a lot? I've heard that the slogan your fans shouted at early Muse shows was "Fuck Oasis!" 「(laughing out loud) But I personally loved Suede. Their first album was one of my favourite releases at the time. And I don't think Blur is bad either. I think they did some interesting things musically, even if they were a bit too pop for my taste. They were ultimately a pop band, and that's fine, isn't it? But when it comes to Oasis, well…… musically they were too traditional, or what can I say…… (desperately searching for words) [3]」

(laughs) So it's not to your taste, then. Now let's go back to Muse again, circa 1998. After signing with Maverick at the end of 1998, you went into the studio at the beginning of the following year to work on your first album, Showbiz, with John Leckie as producer. The album's ‘guitar rock that combines aggression, melancholia and European grandeur’ was both incredibly unorthodox and innovative at a time in the UK when everyone wanted to sound like Britpop. What did the first album mean to you? Was it an antidote to the UK scene at the time? 「Hmm…… Of course we were uncomfortable with the UK scene at the time. But at that time, we were still more concerned with shaping our own sound, so it wasn't an album with that kind of message. The songs on that album were written as we were developing as a live band from the age of 15 to 18. With the debut album, it was more important for us to put those songs into a clear form as Muse for the first time. It was also our first time making an album. It was all new to us, what it was like to make an album, what the actual studio work was like. So we didn't really have a sound concept, and we started with a very diverse musical style and an anything-goes attitude. From the 40-50 original songs we had when we went into the studio, we carefully selected 12 songs, regardless of musical style, and recorded them in a way that was close to our live sound at the time, and that was our first album. Even the songs "Cave" and "Muscle Museum" on that album are almost the same as the versions released as EPs before we signed with Maverick. In other words, that album was a kind of a milestone in Muse's formative years. Around that time, John Leckie first encouraged me to listen to artists I hadn't heard before, like Tom Waits, and I was also discovering a lot of new music at the time. So maybe we were still in a transitional period in that sense.」

“"Black Holes" was actually one of the hardest records to make. We thought we had done everything we could do as a guitar band.”

Speaking of the first album period, the British media at the time often compared Muse to Radiohead because of the use of John Leckie on that album. How did you feel about the British media's preconceived notions? 「I thought it was a harsh comparison for a new band. I think it was because we used John Leckie on that album, and because I have a high-pitched voice, similar to Thom Yorke's. I thought it was really unfair that they treated us as followers just for that reason, and to have such a preconceived review written about me without even listening to the album properly. I was born with this kind of voice, and the way I sing with this kind of high tonal range was actually influenced by Jeff Buckley. So, as I said before, the early Muse, at least up until the first album, was really disliked by the UK media and people in the industry. I guess we were a difficult newcomer to deal with because we were doing music that was completely different from the UK groove of the time. In fact, the response to our early albums was much better in European countries like France and Italy, and in Japan. We ourselves felt that at the time we released that debut album, we didn't function as a band in the UK…… and we felt frustrated. I think it wasn't until our second album that Muse started to get proper recognition in our home country of the UK.」

So let's talk about that second album period here. Muse suddenly underwent a major transformation with the release of the second album, "Origin of Symmetry," in 2001, establishing a truly original Muse sound - the "ultimate form of new-generation guitar rock." What was it about that period that led you to develop your own musical identity for the first time? 「The reason we got our musical identity at that time was because of the change in our mindset during the tour after the release of our first album. We were touring in front of audiences all over the world at that time, and we were slowly getting to know what our sound was all about. When we were making our first album, we didn't even know what direction we wanted to go in, and at that point we weren't sure if we should go in a softer acoustic direction or a harder guitar rock direction. It was a situation where we could go either way, and we ourselves couldn't decide which direction to go in, but after that tour, when we played in front of crowds all over the world every night, our live sound started to lean more and more towards harder and heavier guitar rock. In the case of "Origin", all the songwriting and recording was done at the same time as the world tour. The album itself was sort of born out of the live sound during that period of touring. Even the hard rock-leaning songs like "Plug in Baby" and "New Born" were all written during that tour. The system for writing new songs and recording the songs on that album was to find a studio and record them in each of the places we were touring. It was a very intense and hard situation, but it turned out to be good for our sound.」

At the same time, the second album "Origin" was very innovative in terms of sound, with the first major introduction of the pipe organ, the use of outlandish chord progressions and guitar techniques that would be unthinkable for ordinary people, and the use of bass lines as the lead instrument in songs despite it being guitar rock. Why did your ‘mindset towards music’ suddenly change so drastically during that period? 「Hmmm…… I don't know if I'm allowed to say this in a place like this, but…… (after hesitating for a while), maybe it was because we were doing Magic Mushrooms at that time of year, at the suggestion of John Leckie. [4]」

So those crazy bursts of imagination were Magic Mushrooms! 「(laughs) Because John Leckie was very keen to recommend it to us while we were recording. He said, "Try eating this to awaken brain cells you haven't used before. You'll be freed from your normal perspective and you'll see yourself differently from outside the box. Your approach to instruments will change completely." John Leckie has a very 60s, hippie sensibility in that sense. He emphasises that this is the only way to break out of your shell.」

(laughs) So it was all John Leckie's fault. 「(laughs) Yeah. It was also the time when I first became aware of 19th century classical music. That's when I first wanted to try to bring that kind of operatic grandeur to our rock music and create a new sound. It was also when my vocal style started to change from the way I sang in the early days. I think the change is most evident in songs like "Micro Cuts". From that time onwards, I started to sing less like a regular rock singer and more like an operatic soprano singer. It was also around that time that I started practising the pipe organ for the first time. I think the reason why our mind-set changed like that was because we got a lot of flak from the media in our own country during the period of our first album, and that made us think, "I don't care what other people think anymore. From now on, we're just going to do what we want to do". Regardless of which of those reasons triggered it, that second album was certainly a big turning point for us. Since then, the scale of our tours also changed from small venues with a few hundred people at the beginning to venues with several thousand people. So that album got a lot of recognition in Europe, Japan and Australia (it was the first UK album to make the top three in the UK), but it wasn't very well received in the US…… When the album was released, there was a dispute with the US label, and it ended up not being released (Muse refused Maverick's unreasonable request that Matt's falsetto be reduced on the album to make it more radio-friendly. Muse left Maverick). So at that point, Muse was as good as completely extinct on the US scene (wry smile).」

However, Muse's third album, "Absolution," released two years later, also reached #1 in the US on Billboard's Heatseekers chart! And also #1 in the UK and France! And in other European countries, Muse made a spectacular comeback, reaching the top three, of course. This album contains elements of symphonic rock, classical music, and electronic music, and features many of the signature sounds that would later be called "Muse's trademark." What was the reason why your creativity blossomed so vigorously during this third album period? 「I think one of the biggest factors in the production of "Absolution" was that we were free from the touring days of the past, and for the first time we were able to lock ourselves in the studio and really work on it. As I mentioned earlier, the songwriting and recording sessions for "Origin" were all done at the same time as the world tour, so we didn't have the time to carefully work out the details of the sound. That's why the second album had such a live-oriented style. On the other hand, when we made "Absolution", for the first time since the band was formed, we were able to take a break from touring and take our time and concentrate on making the album. We could afford to experiment with studio work, which we had wanted to try for a long time. In other words, "Absolution" was the first album where Muse were able to explore its potential as a studio band. Also, lyrically, the album started to contain more socially relevant material. The 9/11 attacks in 2001 were a big shock to me and had a big impact on my worldview. It was around the time of the third album that I started to want to express this change in perspective through our music and lyrics. I wouldn't call "Absolution" a political album, though. It's true that our view of our music and lyrics became much more serious after that period.」

I understand. Well, it seems that time is running out, so let's move on to your fourth album, "Black Holes and Revelations" (2006). You started working on this album in a chateau in France, and then spent a long time in different studios in New York, Milan and London. During the making of this album, you guys learned studio techniques for the first time - in other words, was this album an important turning point for Muse in terms of creativity? 「Yes, at the same time it was one of the hardest albums for us to make, actually. At the time, I was hitting a wall creatively for the first time in my life, and I had no idea what to do next. After two albums, "Origin" and "Absolution", I thought we had done everything we could do as a guitar band. We couldn't write new songs in the guitar band format anymore. So when we started working on the fourth album, we had to start by looking for new ideas, something that would take Muse to the next level. That's why the production of "Black Holes" took so long. The breakthrough for us was the fundamental idea that "we have to break away from our previous band format." I was playing guitar, Dom was playing drums, Chris was playing bass, it was already the formula of Muse at that point. I felt that we couldn't go any further if we continued in the same way. So, at the time of that album, I started to write songs more with piano and synths and other instruments, rather than sticking to the guitar-driven songwriting that we had been doing up until that point. "Supermassive Black Hole" was also a song written mainly with programming and vocal chords, and all the members started to play different instruments from their previous ones. By changing the way we wrote songs, we tried to fundamentally change the formula of Muse as a three-piece guitar band. And because the dynamics of the band changed during that period, we needed another member for live shows, so we asked Morgan (a former member of the aforementioned Senseless Things) to join us. Unlike playing in the studio, live performances don't allow the same members of the band to play different instruments at the same time. In that sense, the fourth album was a big turning point for us.」

"The starting point for the latest album was that we wanted to explore a personal point of view. It's diverse in style, but it's an honest album that reflects who we are at the moment."

Now let's swiftly move on to your fifth album, "The Resistance", released in 2009. As soon as it was released, the album reached number one in 19 countries around the world and was the first album to enter the top three on the US album charts. It also won the Grammy Award for ‘Best Rock Album’ the following year. At the same time, this album was one of the most wide-ranging Muse albums to date, but what does it mean to you guys? 「For us, "The Resistance" was a record that broadened the horizons of the new Muse that began with the last album, "Black Holes", and pushed us even further beyond that. It was an album where we aimed to go even further than we did with our fourth album, where we grew dramatically as studio musicians and producers. So there are quite a few songs on that album that can't be reproduced live, like the three suites from "Exogenesis: Symphony", which cannot be reproduced exactly as they are on the album in a live performance. "The Resistance" is an album that was not originally made with a live show in mind, but rather an album that focused on perfection as a studio album. At the same time, it's also very conceptual in terms of lyrics, and I've been able to focus on what I want to convey to the audience. In that sense, that album was one where the quality of the studio work was more important than anything else. We decided to completely self-produce the album because we wanted to find out what direction Muse would take in the future, without any outside influence. What exactly is Muse? We wanted to find out for ourselves. In a way, the album was also a search for the answer to that question.」

I understand. Now let's talk about your sixth album "The 2nd Law", which will finally be released. This album is one of the most artistically adventurous and stimulating Muse albums to date. What does this latest album mean to you, the creators of this album? 「The starting point for this latest album was to take another turn from the direction we had pursued with "Black Holes" and "The Resistance", and to push further into the personal point of view that we had expressed on our first album. The titles and lyrics certainly have a lot of social and hard science overtones, but the content is all written from a very emotional point of view. The musical style of the songs on the album is the most varied to date, but the sound structure itself wasn't created with a complex concept in mind. It's a very honest album, a reflection of who we are at the moment. So in the case of this album, I'm confident that we can reproduce almost all of the songs live. With "The Resistance", there were more than half of the songs that I thought…… I think it would never work live, no matter how we tried (laughs). So this latest album is also a reaction against ourselves in the past few albums. It was also meaningful to bring Muse back to simplicity, which we had made more and more complex in the process from "Black Holes" to "The Resistance".」

Finally, what are your plans for the future? Muse's live activities will finally resume with a UK & European tour starting in early October. When do you think this will develop into a world tour, including Japan? When I last asked Dom and Chris, they assured me that "We will definitely do a live show in Japan next year!". 「Yeah, at the moment we are talking about doing a show in Japan around January next year. Right now, it seems that it depends on the timing of whether we can actually transport all of our equipment to Japan at that time. It's right after Christmas and New Year's, so it might take a while to get them there. So as long as we can clear that up, we should be able to come to Japan around the 11th or 12th of January. We're looking forward to it and we're excited about it.」

Will you descend on stage in a model UFO, as you recently confessed in a British magazine? 「If the venue would let me (laughs), of course I'd love to do it.」

Translator's Note: It's been over a month since I last posted a translated interview. This one was a really long one, and on top of being on holiday abroad and coming back sick, I barely managed to have the energy to look through the translations and edit them accordingly. So, sorry about this being long overdue.

This is actually the second time Matt has done a 20,000 character interview with Rockin'On. The first long interview with Rockin'On was released back in October 2001, and said interview was reissued into the August 2010 magazine.

[1] I don't really know which Cream compilation album that Matt was talking about, given that by the year and age that he discovered it (1990 at age 11-12), there were already 3 compilation albums released by Cream (Best of Cream, Heavy Cream, and Strange Brew: The Very Best of Cream). And that doesn't count in the 2 live compilation albums also released by that time.

[2] While the name of the members that made up Gothic Plague were already known on Musewiki, this is actually the first physical proof of what their positions in the band (Marcus = Vocals, Paul = Guitar, Andy = Bass). Not even Matt's photo of the itinerary for a Talent Content in 1991 had written what instruments/position Marcus, Andy, and Paul played as.

[3] You finally heard it here, folks. When it comes to Britpop, Matt likes Suede and Blur more than Oasis LMAO

[4] Now everyone, thank John Leckie for introducing to the boys to magic mushrooms. And only magic mushrooms, thankfully.

Please do support me via my ko-fi! ☕

[hotdyke-hardstyle]

https://www.tumblr.com/karamrafeek/754196219096694784/help-karam-al-nabih-and-his-family-rebuild-their?source=share

Hello, I hope you and your family are well. Can you please help me recycle the post on my account? 🌺 And help rescue my family from the war in Gaza? 🙏🙏

Hello everyone, I am Karam Al Nabih from Gaza. All my dreams have been shattered now in Gaza. I am a software engineer in my last semester, but now my home, my dreams, and my university have been destroyed.

All my dreams have been destroyed 😞 I hope you share , support and donate

Repoooost & donate please after read my story, that's urgent! 🇵🇸🍉

Donate even if it is 10 euros or 15 euros or more، The smallest donation makes a difference in my family's life!!🙏🙏

is currently at 10806€/20000€

https://gofund.me/7c433301

Vatted by @nabulsi @90-ghost

Hi Karam, I've reblogged your campaign and am linking it here. I wish you and your family peace.

Karam's campaign has been verified by @/nabulsi here, and also by @/gazagfmboost here. Their campaign is just over halfway to its goal! Please consider donating and sharing.

Currently at €10,841 / €20,000.

[beesmygod]

oh, so. there's this story thats semi-local to my hometown that ive been keeping up on via the reno subreddit. ive been gawking at it from afar in wonder bc i didnt know people could make this many bad decisions on purpose.

joey gilbert was a boxer who was forced to retire bc he's a cheating bitch who was roiding up and doing meth before fights. the list of drugs in his system would scatter an average human's atoms like dust.

as a shining example of the kind of education i paid for: joey gilbert graduated from my alma mater, UNR, with an english degree and then passed the nevada bar using a law degree gained from a diploma mill that is no longer accredited. so now gilbert practices law. this is the advertisement that greets you when you get off the plane at reno/tahoe airport.

every time i see this i want to laugh my ass off. the vague use of meme formatting even though he doesn't understand the conventions of an impact font meme. he has the dead doll eyes described by clint in jaws. he looks like if lowtax attended his own funeral. there's no phone number or website. google me bitch.

anyway, that's not the point. gilbert evidently fried what was left of his tenderized boxer brain with speed and has tried to fashion himself as the VIP in douglas county/vegas conservative circles. i guess he fits right in because they willingly embraced him. he was at the jan 6 riot and will loudly espouse basically any belief as long as hes getting paid. he tried to run for gov and lost the primary by over 20k votes. somehow he claims this is election fraud. he has yet to explain the mechanisms that would explain how douglas county and its republican chapter manufactured over 20000 votes for a republican primary without anyone noticing during a time when election fraud is a hot button topic, all because they feared that the guy they test research chemicals on was a legitimate threat.

hold up my bad. actually gilbert says HE won by over 50000 and the city of las vegas is suppressing the results. his case was thrown out and he was fined 88k for wasting everyone's time.

okay now: in july of 2023 (insane link btw lol. they keep saying shit like "yeah i did that. problem, bitch?",) the conservative douglas county board of trustees had a bitch fit over their lawyer, who has been in the position for over 20 years, for refusing to enforce a transgender sports ban. in an act of retaliation he was fired by a narrow vote and replaced with........

JOEY GILBERT!!!!!!!!

pros of this exchange:

cons of this exchange: he costs more, has no formal law education, the ACLU is going to rip them a new hole, its now october and he has charged the school district an eye-watering 100k in two months. the previous firm charged 18k a month.

in response, the board of trustees is convening in order to fire......the superintendent who has been in the position for 30 years bc he was against gilbert from the start.

nevada is so dedicated to being number 50 in the nation. its honestly heartwarming to think that even the dumbest, toothless hick can make it there by simply lying nonstop. thats the american way, baby!

[brightlotusmoon]

(9) Question

Cannabis is probably the least toxic therapeutically active substance known to man. Its Therapeutic Ratio (TR) is so high as to be virtually impossible to calculate but is believed to be between 1:20000 and 1:40000. Thus if 100mg of cannabis would produce an effect, between two to four kilos (taken at once) would be fatal. This amount is, of course, impossible to consume.

Therapeutic Ratio (TR) is the ratio of effective dose for 50% of users (ED50) to lethal dose for 50% of users (LD50). The TR of alcohol is 1:20. TR of heroin is 1:5.

Also, cannabis works on our body because it modulates the endocannabinoid system which consists of a network of CB1 and CB2 receptors throughout the body and endocannabinoids which are the body’s natural chemicals equivalent to the chemicals in the cannabis plant. The CB1 receptor is now believed to be the most prevalent receptor in the brain but does not exist in the brain stem which controls the cardiovascular and pulmonary systems. This is why, unlike opiates, alcohol or other drugs, cannabis cannot depress basic life functions to the point of death.

Many doctors are unaware of the endcocannabinoid system because it was only discovered in 1988 and so has only recently been documented in medical education. It is now believed to be the most important physiological system in our body, regulating the central nervous system, immune, cardiovascular, gastrointestinal and reproductive systems. This is why mankind has found cannabis such a safe and effective medicine for at least 5,000 years for such a wide variety of conditions.

_

INTERESTING.

[wavesoutbeingtossed]

I get why that anon wants to buy a ticket in Europe for the next tour… but please don’t. In Milan there were 20000 americans at each convert (estimated). So 40000 in total. *40000*. It was 13 years she didn’t come back here. You guys have so many shows. I get that it’s too expensive for you there but it’s expensive for us too here, and if you guys come flocking here we’re screwed. I know I can’t police what people do but PLEASE think about the fact that this kind of behavior leads to thousands upon thousands of tickets not sold to international fans and it’s just not right because you have had something like 60/70 shows, while Italy/France 6/8. Let’s put things into perspective here.

Anon, I'm extremely sympathetic to this, especially to destinations she and other artists don't frequent. But the reality in the music industry now is that this is going to be the norm. There's no way for Ticketmaster to prioritize sales for residents only in any place for any artist. If they had a better system where they could give locals early access that'd be wonderful, but they clearly don't. And to be absolutely frank, if those of us here on tumblr step back because we want our besties in Milan to get first crack at it, others are just going to step in and take the tickets anyway-- and more likely than not it'll be the bots/scalpers who do, not fans.

I'm Canadian and I couldn't get access to any shows in Canada, or even North America for that matter. With someone like Taylor, i think the unfortunate reality is that EVERYONE has to travel ANYWHERE for a show, so people in Milan may have to go to Stockholm, or someone in Madrid may end up going to Munich, or whatever. It sucks, but Taylor and artists of her stature on such a level that there is no such thing as just a local audience anywhere. So it's not an expense thing for most of us travelling to shows, it's literally an access issue. There's no supply, and we go to wherever Ticketmaster sends us via its waitlist system. Truth be told, if I had gotten a code for Toronto instead, my instinct would probably have been to pick that over Europe because being "domestic" seemed more convenient. But I didn't, and I got a code for France, so that's where I went. I don't know where the other anon was from, but it could be that they wanted to go to a show in the US but maybe they'll only get a code for Europe too.

I really, really hope Taylor adds more dates in Milan and other accessible cities for her next tour so that more fans get to go. The Ticketmaster bloodbath is awful and when it comes down to it, IMO it's not a fan issue, it's a Ticketmaster issue. I really, really want all oomfs to go to the shows they want to go to.

(I hope this doesn't sound harsh anon, this isn't directed at you or meant to be aggressive, it's meant to be sympathetic! Just trying to relay that people travelling for shows isn't a clearcut issue, and unless Taylor does a long-term residency somewhere in one place, I think most cities are unfortunately in the same boat to different degrees.)

[mjfsupremacy]

TW: This post talks about the current conflict in Palestine and mentions loss of life. Please look after yourself and proceed with caution. 🧡

MJF's silence in regards to the genocide has been bothering me for the last few weeks and I'm growing more and more concerned that he may be in support of the removal of Palestine and its people.

He has been unapologetically vocal about his Jewish beliefs and heritage for years but recently it's felt like it's been more frequent and I wonder if this is his way of showing his support to Israel or if he maybe hasn't considered the optics of doing all this, standing beside an Israeli flag to recieve rightfully deserved honours, but saying nothing about what that flag actually represents (the murder of nearly 20000 people and the oppression of millions just in the last 2 months.)

He's an amazing advocate for the Jewish community, and he deserves all this recognition, and I'm sure people much smarter than me have spoken about how fair it is to expect rules on how Jewish people navigate their faith online, but does anyone else think the timing is a bit strange? I don't know about anyone else, but I will never be able to separate the art from the artist and I can't support someone who thinks what is happening to Palestinians is or ever has been okay. I really hope I'm just reading all this wrong.

Maybe I've missed something and this isn't the red flag my gut is telling me it is, if I have please feel free to educate me and I will update this post with any and all relevant information.

Please consider boycotting Starbucks, McDonald's, Zara, and Disney. Please consider calling your representatives to demand and end to arms sales, a permanent ceasefire, and a return of all hostages, and if it is safe to do so, please get to the next rally in your local area. Our voices matter,and we can make a difference. We just have to try. 🍉

EDIT: I would like to add, though I am not American that there has been a 300% rise in antisemitic hate crimes since Oct 7 and this could very well be a reason Max has chosen not to speak on the genocide. As always, hate of any kind is not welcome on this page, especially antisemitism. We can be critical and discuss this issue without resulting to hate speech!

EDIT #2: it's okay to feel confused and scared and conflicted about this issue. Jewish people and Muslim people deserve our love and support right now. If you would like to talk or would like further information to better educate yourself on the Nekba, on the original Israeli solution, and how the UN and America and the UK came to create it, and what's happening now, please feel free to reach out anytime.

EDIT #3: I want to reiterate that I am not accusing Max of anything, I am airing my concerns and my confusions and feelings. Again, I understand that this is a complicated issue but we all have a responsibility to do the best we can and stand up for humanity whenever we can.

[deancasbigbang]

Title: Then Till Now

Author: silver_penny

Artist: spiffyflypie

Rating: Teen

Pairings: Dean/Cas, Sam/Eileen, Dean & Sam, Dean & Charlie, Cas & Anna, Cas & Claire

Length: 20000

Warnings: No Archive Warnings Apply

Tags: 17776 AU, human/nonhuman relationship, alien invasion, happy ending, dialogue-heavy, rocketry

Posting Date: November 1, 2023

Summary: It's the year 17776, and Dean Winchester is used to the peace. Humanity has stabilized the climate, vanquished world hunger, and achieved equitable global co-operation. Nanobots swoop down to heal every little paper cut, and if no one is born anymore, well, no one dies either. When the Cassini-Huygens space probe crashes into his life – newly conscious, bluntly sarcastic, and deeply skeptical of humanity's late triumph – it's the most interesting thing to have happened to Dean in millennia. But out in deep space, something truly interesting is stirring...

Excerpt: Bobby’s wrong about the house – it’s not too big, not for Sioux Falls and especially not for their family – but when he opens the door and the creak echoes out into a cavernous empty space, it kind of feels that way. Dean ends up in the Deancave, curling up in the best seat and summoning up something old and a little mindless to watch. Hello.  It’s the first thing he’s heard in hours, and for a moment Dean doesn’t even recognize it as another person. But it lingers, the way real environmental sounds do. Dean mutes the TV. “Hello?”  Yes.  Dean bites his lip. “Hello, yeah. You okay?”  I’m not sure.  “Alright. What’s up? Can I help?”  I am unsure if that is something you are capable of doing.  Dean blinks. “Okay. You just soliciting or something? Sorry, man, not interested.”  I am not...soliciting.  “Okay?”  I have no interest in solicitation.  “So any reason you decided to barge into my evening, then? If you don’t need anything, you don’t want anything...”  I am talking to you on the advice of my brother.  “Who’s your brother?”  Pioneer G.  Dean blinks again and then slowly sets his remote control back down. “The – the space probe? Pioneer G?”  He likes to be called Gabriel.  Of course he does. “You’re talking to me from space?” There’s a very long pause. Yes. “Huh.”  I don’t know where else I would be talking from.  “Yeah,” Dean says, “of course not.”  You are also talking to me from space.  “From Earth,” Dean says absently. “Not quite the same thing.” There had been, of course, probes on the news. How humanity built something that, millennia later, could wake up like that, for lack of a better term...that was still a mystery. The scientists were all over it, of course, but maybe a little less urgently than they might have been, once upon a time. And now there was a spacecraft interrupting his show. Dean clears his throat. “So, um, any reason your brother thought I would be the best person for this conversation?”  He didn’t.  Now Dean squints at the ceiling. “You know, you’re not doing a great job answering my questions.” There’s a beat. Two beats.  My apologies. Gabriel requested that I “go find one of those humans to chat with if you want to talk so much.” You were in an optimal position.  “I am, huh?”  Yes.  “You mean, like...spatially? Cosmically?”  Your position on Earth is optimal for transmission at the current moment. Also I can see your television. Huh. “So who are you, then?” Dean asks. He kicks up his feet a bit and studies the ceiling, imagining the moon and stars that might show behind it, once the sun goes down. He racks his brains, but even back when the space program was at its height, it didn’t make top thousand on the Winchester priority list. “Hubble? Sputnik?” Sam would know more.  Cassini-Huygens. Dean catches his breath.

DCBB 2023 Posting Schedule

[destinedofficial]

hi destined its been 20000 years since i said hi -miu now under a new alias

YIPPEE!! do you still wanna be called miu or your new name?

[cryptidwithaninternetconnection]

A girl and her deity

Notes:

The mask holds the essence of her deity

She cannot take the mask off herself. Someone else has to

Her deity uses her body as its vessel, so it'll attack anyone who attempts to remove the mask

The deity is an evil fox creature

Claire and Casper will be stalked by her in Zel's palace

Her name is Mimirii (Mimi for short)

The deity and Kurayami were friends once (if that's okay with you)

Oh sick! One thing, Kurayami was once human and has been in total isolation since their death over 20000 years ago, trapped with their conscious spread across a whole species of flower (that flower being a peace Lily) so with that in mind I don’t think that they would have any friends in general lmao. But other than that this looks great! ^^

The thing with Kurayami is they have absolutely zero memories other than the lead up to their death, they don’t remember their name, they don’t remember why they were killed and left in a field to die, they only know that it happened unjustly

[sitp-recs]

Hi i was wondering if you've read this fic. I can't find it and it's really bugging me. It's eighth year I remember not being sure if I should click it cause the description was a bit long and rambling and not very drarry focused. I think it was unrated. I don't think it was very long like 20000 words max not super long. I think it starts around the end of term and Harry and Draco haven't talked much but Harry's noticed that dracos been not doing super well, always looks tired not eating much. Then one day he seems to perk up and he asks Harry to go out with him? I don't super remember how that goes down. But in the fic they go to a sports game (probably quidditch?), i think a concert ? and do a bunch of date things. They go to a fancy restaurant and Malfoy actually gets down on one knee and proposes to Harry at the restaurant in front of everyone and Harry's like wtf Malfoy the whole time. Then at the end of the fic they're having kind of a nice time looking at the stars I think? and Malfoy admits he was planning on killing himself but he wanted one last day out and wanted to spend it with harry. Harry's like wtf don't do that. I read it on archiveofourown. Its really frustrating I can't find it haha

Hi there! This sounds familiar but I can’t quite place it - maybe my followers will recognize it?

Edit: thank you @goodomensficrecommendations! Looks like this is We’re Not Friends by alexmeg!

[lionews]

"Admins can (and have) made mistakes. Anyone remember when they accidentally gave like 20000 GB to every player on the site because that was the ID number of a player who was having an issue with their GB purchase? It's probably better to just let the existing code do its job."

HUH WHEN- Why wasn't I online for this 😭

Dunno why I'm freaking out over it when it was mostly taken back either way lol

It was a few years ago now. They gave everyone roughly 20k GB because they had been trying to send it to a user whose ID matched the number of GB they sent out.

[maplemaplemaplemaplemaple]

https://www.tumblr.com/karamrafeek/754196219096694784/help-karam-al-nabih-and-his-family-rebuild-their?source=share

Hello, I hope you and your family are well. Can you please help me recycle the post on my account? 🌺 And help rescue my family from the war in Gaza? 🙏🙏

Hello everyone, I am Karam Al Nabih from Gaza. All my dreams have been shattered now in Gaza. I am a software engineer in my last semester, but now my home, my dreams, and my university have been destroyed.

All my dreams have been destroyed 😞 I hope you share , support and donate

Repoooost & donate please after read my story, that's urgent! 🇵🇸🍉

Please don't skip helping me and my sick mother to rebuild our lives. Any donation, even a small one, will make a difference 🙏🙏

Donate even if it is 10 euros or 15 euros or more، The smallest donation makes a difference in my life

is currently at 11313€/20000€

I sincerely appreciate your help and look forward to your continued support🥺❤️

https://gofund.me/7c433301

Vatted by @nabulsi @90-ghost

Please donate or share help me reach my goal

❤️ this campaign has been vetted through the sources mentioned in the ask, and is currently at €11,416 of its €20,000 goal.

please share and consider donating if you're able. as with fundraisers i've previously shared, i'll create a doodle for anybody who sends me proof of donating