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The “crown” refers to Mayweather’s place as the head of the android revolution, a crown she earned through blood, struggle and heartbreak – the story of which is recounted in The ArchAndroid.

However, there is also a literal crown, as Janelle is pictured as royalty in the original storyline of her previous album.

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If this song sounds familiar, that’s because its instrumental cousin was used prominently in the trailer for The Matrix Reloaded.

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The final track of Furious Angels, this enhanced and vocalized version of the earlier “Instrumental” is a surprisingly triumphant and uplifting ending to an otherwise dark album.

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Katniss prays to God for guidance, because between getting thrust back into the Games (which wasn’t supposed to happen) and the pressures of being a rising symbol of revolution, she can’t take the pressure any more.

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Gold and dragons (riches and glory) is the archetypal plot/motivation for the hero’s journey (e.g. Beowulf). The contradiction is Katniss never set out to obtain either. She becomes the symbol of hope for these people (not by choice) and they hope heaven (liberation) from the oppression they have been subjected to is soon.

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Muse is an English rock band from Teignmouth, Devon, consisting of Matthew Bellamy (guitarist, keyboardist, singer, songwriter, middle of the picture), Christopher Wolstenholme (bassist, background vocalist, to the left of the picture), and Dominic Howard (drummer, to the right of the picture), that formed at their school, in 1994. They often infuse classical piano and strings (and sometimes even choirs) with catchy guitar and piano hooks.

Muse is mostly known due to their alternative genre of music and also their live performances.
Some have compared Muse to other bands such as Radiohead; Though this analogy has faded during past years since Muse has changed its taste.

The band always has an Apocalyptic background theme in their albums; In every album, there is a different apocalyptic perspective. Showbiz (Anxiety), Origin of Symmetry (Mental Disorder), Absolution (Religion and atheism), Black Holes and Revelations (Alien’s Attack), The Resistance (Mind Control), The 2nd Law (The 2nd Law of thermodynamics and the world moving toward destruction – Entropy), Drones (War), Simulation Theory (Life is a simulation and we should escape this fragile world and move toward the bigger picture), and Will of the People, a dystopian world of revolts inspired by the incidents happening around the year 2020 (i.e., the black lives Matter protests, the massive wildfires, the pandemic, and riots on the streets) .

Their official website is muse.mu.
For more information about the band, check out musewiki.org.

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“Knights of Cydonia” is the final track on the non-Japanese pressings of Black Holes and Revelations, and was once described by bassist Chris Wolstenholme as “40 years of rock history in six minutes.”

This song combines the subjects of Mars and the Four Horsemen of the Apocalypse mentioned in the Book of Revelations in The Bible. The Four Horsemen of the Apocalypse appear in chapter 6 v 2-8. The four horses represent God’s judgment of people’s sin and rebellion and are a foretaste of the final judgment to come. The four horsemen are traditionally named pestilence, war, famine, and death.

This song, like much of Black Holes and Revelations, is inspired by corrupt political leaders. Matthew Bellamy says its not about any specific leader, but all leaders. Evidence of this is shown in the lyrics, such as “I’ll show you a ‘god’ who falls asleep on the job,” referring to leaders who treat themselves like God because they have power.

Cydonia is the region on Mars where some believe life has existed. In the January 2007 issue of Q magazine, Matt Bellamy said: “I’d definitely be up for a trip to Mars. I’d love to record an album at zero gravity. Or at least go up there and do a vocal take. The area of Cydonia is very interesting. There are parts of it that resemble abandoned civilizations.”

Since 2008, live performances have included an introduction of Ennio Morricone’s “Man With a Harmonica” from Once Upon a Time in the West where bassist Chris Wolstenholme plays a harmonica piece.

The song was included in Guitar Hero III: Legends of Rock.

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While the odds feel stacked against him, Matt intends to fight for his fate and humanity’s betterment.

In Matt’s own words,

There is this feeling of waking up and trying to fight back, or it’s time to actually try and change yourself and the things that are going on around you. I think to me that’s very optimistic, this strength […] at the end of “Knights of Cydonia,” when I’m just saying, ‘No one is going to take me alive’ and all that kind of stuff. I think it’s the strength of the human spirit fighting against the forces that are manipulating it.

The album’s final outro chorus’s repetition resonates strongly with the opening track’s plea for malevolent power to “Take a Bow”, for which Matt mused,

You can hear the people who are at the bottom of the pyramid, who haven’t got any power, and they have this feeling of powerlessness, a feeling I have quite often, about some of these events – this sense of, ‘What can I do about this?’ It seems like no one is listening. A million people protest, and nothing really happens…"

(Both quotes above are derived from the magazine “Under the Radar” in an interview by Marcus Kagler.)

During the tours for this album and even bigger tours to come, the opening track “Take a Bow” and closing track “Knights of Cydonia” interchangeably would begin or end each show.

Their themes and sonic tapestries extended directly to their next studio album’s globally successful single “Uprising”, amidst the super-massive U.S. banking crisis, a global invective in full-throttle by Winter 2008. the oppressors in “Uprising” expanded to bankers and global corporations.

And by the time of this heavily extended annotation?: It’s February 2021, as the effects of climate change and COVID-19 yield more profit for the oppressively rich and powerful.

Long live the revolution!?

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How can humanity ever hope to truly succeed as a group (it’s hard enough succeeding on an individual basis) when we often seem to elect, appoint, or end up with idiots in positions of power?

From the time of writing beginning in a tour bus through Texas and Arizona, to the song’s recording in NYC in 2005, to note Matt Bellamy’s political views were tilted against the U.S. POTUS G.W. Bush and the U.K.’s P.M. Tony Blair would be a huge understatement. See the album’s opening track, “Take a Bow”.

Humanity’s past, present (and future?) tendency towards manipulative forces in power (via manipulation or in line with the Lord Acton maxim that “absolute power corrupts absolutely”) is exasperating. It becomes a moral imperative for the strength of the human spirit to object/ oppose/resist/extricate oppressive forces in power.

Matt views the song as an optimistic call-to-arms, avoiding cliché given the scope of its landscape expressed musically and visually in a retro-futuristic pre and/or apocalyptic inter-planetary Earth to Mars Sci-fi Spaghetti Western drama (watch the music video and its beyond-cinematic scope of histrionic, down-to-earth space-time dimensions).

16 years later, this theme resonates as more prescient during COVID-19, the ravages of climate change, and the post-Trump era: how can we win? (And the key is not via the love of power, but the power to love; ask Matt. Empathy reigns in his world …).

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Matt Bellamy has often criticized the concept of organized religion both in his music and in his private life. In this line, he invites the listener to look back on the summation of human history, see all the tragedies and carnage that we have inflicted upon one another, think about the fact that, if a god or gods really do exist, then it is/they’re doing a really lousy job of looking out for people, as prayers go unanswered, and uncared for.

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