▄▄▄▄▄▄▄ ░ ▄▄▄▄▄▄▄ ▄ ▄ ▄ ▄ ▄▄ ░ ▄▄███▓▓▀ ▄▄▓██▓▓▀ ░ ▄ ▄▄ ▄ ▄ ▄ ▄ ▓▀ ░ ▄▄▄▄ ▀█▓▄████▓▀▀ ░▄███▓██▀ ▄▓▄▄▓▄ ░ ▀▄▀ ▄▄▄▄ ▀▓ ▄ ▀ ▄▄▄██▓██▓▓██ ▓█████▓▄▄ ░ ▄████▓▀ ▄█████████▒▓▄ ▓▌ ██▓▓██▓██▄▄▄ ▀ ▀ ▄▄███████▓▓██▓▓▓▌▐▓███▀▀▀ ▀▓█████▓▀ ▄████████████▓▓▄▐▀▐▓▓▓██▓▓███████▄▄ ▀ ▄▓████████▓█████▓▓█ ▓▀ ▄▓▄ ▐▓███▓▄ ▄▓██████▓▓██████▓▓▌ █▓▓█████▓████████▓▄ ▄▓██████████████▀▀█▓█ ▄█▓███▄▒ █▀▀ ▄▄▓██████▓▀▀ ▓█████▓▓█ █▓█▀▀██████████████▓▄ ▐▓████████████▓█▌▒▒▐█▓▌ ▀███▓▄ ▒▒ ▄▓████▀▀ ▒▐█████▓▓▌▐▓█▌▒ ▐█▓████████████▓▌ ▓▓▓██████████▓▓█ ▄▓ ▐▒▌▓█▄▄ ███▓▄ ▒ ▀█▓▓██▄ ▒ ░▄▄ ███▓▓█▀▄▐▒▌ ▒ █▓▓██████████▓▓▓ ▐▓██████████████ ▀██ ░▌███▓▌▐██▓█ ▒▒ ▀█████▄▄███▓▌▐█▓▓█▀ ▐░ ▒▒ ██████████████▓▌ ▀▓██████▓▀▀█▓█▓█ ▐██ ▌███▓ ███▓▌ ▒▒▒ ▀▓█████▓████▐▓█ ▄▄█▓▐ ▒▒ █▓█▓█▀▀▓██████▓▀ ▀▓██▓▀▀ ░ ▐███▓█ ▀▓▀▐██▓▌▒ ███▓█ ▒ ▀▀▀▀▓▓▀▓█▌▒▌████▓▄█ ▒ █▓▓██▌ ░ ▀▀▓██▓▀ ▐▓█▌▒▒ ███▓▓▌ ▒ ███▓▌▒ ███▒▓▌ ▒█▄▄▓▄▄▄▄ ▀▓ ▒▒ ▒▌ ▀███▓▓▌ ▐▓▓███ ▒▒▐█▓▌ █▓▌▒ ▓███▓▓ ░ ███▓ ▒ ▐▓██▓▓▄ ░▐▓██▓▓▓█ ░ ▒ ░ ▐██▓▓█ ▓▓███▓ ▒▐▓█ ▐▒▌ ▐████▓▌ ▐█▓▌ ▒▒ ▓████▓▄ █▓███▓▓▓▄ ░ ███▓▓▌ ▐▓████▌ ▐▒▌ ░▌▒ ▐████▓▓ ▓██▓▄ ▄█▓███▓▓▓▄▐██████▓▓▓▄ ░ ▐██▓█▀ ▓▓████▌ ▒▐░ ▐▓ ▐█▓███▓▌▐▓███▓█▓███████▓▓▌▓████████▓▓▌░▒▄█▓▀▀ ▒ ▐▓█████▌ ▓▌ ▀▓▄ ▄███▓██▓▌ █▓███▓▓█████▓▓▓█ ▀▓██████▓▓▓▓▒▓█▀ ▒▒▒▒ ▓█▓█▓██▓▄ ▄▓▀ ▄▄███████▓▓ ▀▀▀▀▓▀ ▀▀░▀▀▒ ▀▀▀▀▀▀▀▀▀▀ ▒ ▀▓▓████▓▌ ▄█▓████████▓▓▀ ▀▀▀▓▀ ▀▓▀ ▀▀▓▀ ▀▀▀ ▀▓▀ ▀ ▀▀▀▓▀ ▀░▀▀ ▀▓██▓█▓█▓▄ ▄▓█████████▓▓█▀ ▀▀▀▓██▓▌ ░ ▓█████████▓▓█▀ ▐█▄██▓▀ ▐███▓██▀▀▓▀░ [ J U S T F U N . P R E S E N T S ] ██▓▓█▀▀ ░ ▓████▓▌ ░ ▐▓▀▀ ▓ ▐█████▓█ ▀ ░ ▀█▄▓████▓▓▄█▀ Artist.......: VA ░▓ ▌ ▄▀██▓██▓▓▀ Album.Title..: Gazeller II 78 Devirli Ta■ Plak Kay²tlar²▓ ▓▓▄▀█▓▓▓▀ Label........: Kalan ░▓░ █▓▌ ▐█▓▓ ▀▓ Genre........: Ethnic ░▓▓▓ ▐█▓▓ ▓█▓▌ ▓░ ███▓▓[z0o]░ ▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄ ▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀ ░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░ ░ ░ █▓▌▄▄▄ ▄▓ ░▓▓▓░ ░▓▓▓▓▓▓░ ▀▓█████▓▓▓ ░▓▓░ ▐█▓▓ ░ ░▓▓░ rip.date....: Apr-09-2005 ░▓▓ ▐███████▓▓▌ ░ ░░ ███▓▓ ▓▓░▓░ str.date....: 06-06-1997 ░▓▓░ ▓███▀ ▀▓█▓▓ ░ ▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ripper......: JUST ▓ ▐█▓▀ ░ ░▀█▓▌ ▀▓█████████████▓▓▓▀ quality.....: 192 kbps ░▓░ █▀ ░░▓▓▓ ▀▓ ░ ▀▓██████▓██▓▓▀ ▓░ size........: 82,1 MB ▓▓ ▀░ ░ ░ ░▓░ ░▀ ▀▓█████▓▓▓ ░░▓ playtime....: 59:37 min ░▓▓░▓▓▓▓ ▓▓▓░ ░ ▐███████▓▓▌░▓▓▓░ Catnr.......: CD072 ░▓▓▓▓▓ ▓░▓▓░░ ░ ▓███▀ ▀▓█▓▓ ▓░░ URL.........: n/a ░▒░ ░▓░ ░ ▐█▓▀ ░░ ▀█▓▌░ ░ ▒ █▀ ░▓▓▓▓░ ▀▓ ░ ░ ░ ▀░ ▓▄▄▓▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█▓█▄▄▄ ░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄ ▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌ ▓█████████▓▓█▀ ▐█▄██▓▀ ▐███▓██▀▀▓▀░ ██▓▓█▀▀ ▓████▓▌ ░ track title time ▐▓▀▀ ▓████▓▌ ▀ ░▌ ▓████▓▌ 01. Munir Nurettin - Kalbim Zemini Ask 03:29 ▓▌ ▓████▓▌ 02. Hafiz Sadeddin - Mest I Nazim Kim Buyuttu 03:15 ▓▌ ▓████▓▌ Boyle ▓▌ ▓████▓▌ 03. Hafiz Kemal - Hasretle Bu Seb 04:02 ▓▌ ▓████▓▌ 04. Hafiz Sadeddin - Hicran I Elem 03:56 ▓▌ ▓████▓▌ 05. Hafiz Osman - Dil Verme Gonul 03:38 ▓▌ ▓████▓▌ 06. Udi Marko - Haceru L Esved Imis 03:12 ▓▌ ▓████▓▌ 07. Hafiz Sami - Bakmiyor Cesmi Siyah 02:51 ▓▌ ▓████▓▌ 08. Hafiz Asir - Tavlada Beslerler Bir Saci Doru 03:18 ▓▌ ▓████▓▌ 09. Hoca Izak Algazi - Sana Dil Verdimse 03:50 ▓▌ ▓████▓▌ 10. Hafiz Kemal - Feryad Ediyor Bir Gul Icin 03:53 ▓▌ ▓████▓▌ 11. H Burhan - Kadifeden Kesesi 02:56 ▓▌ ▓████▓▌ 12. Hafiz Memduh - Bana Mey Sunma Saki 03:24 ▓▌ ▓████▓▌ 13. A Celal - Yuzundur Cihani Munevver Eden 03:00 ▓▌ ▓████▓▌ 14. Hafiz Kemal - Asik Aldur Kim 02:49 ▓▌ ▓████▓▌ 15. Hafiz Kemal - Sen Ben Gordugum Anda 02:30 ▓▌ ▓████▓▌ 16. N Bey - Beni Endiseye Saldi 02:54 ▓▌ ▓████▓▌ 17. Hamiyet Yuceses - Bakmiyor Cesmi Siyah 03:31 ▓▌ ▓████▓▌ 18. Nevzat Akay - Uymuyor Talihim Her Arzuma 03:09 ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Like other Middie-Eastern musical tradI.tions. ▓▌ ▓████▓▌ Ottoman classical music is based on the concept of ▓▌ ▓████▓▌ makam. In Western languages the closest word in ▓▌ ▓████▓▌ meaning to the term makam is "mode". However, mode ▓▌ ▓████▓▌ is not an exact equivalent of makam. Modes are ▓▌ ▓████▓▌ often described as and represented by scales. In ▓▌ ▓████▓▌ the structure of the makam the scale is accompanied ▓▌ ▓████▓▌ by the melodic progression (seyir in Turkish) which ▓▌ ▓████▓▌ is described as the special emphasis on certain ▓▌ ▓████▓▌ notes within the scale and whether the scale is ▓▌ ▓████▓▌ ascending or descending. or both ascending or ▓▌ ▓████▓▌ descending. The τes,ni, which means "flovour" is an ▓▌ ▓████▓▌ exponent of the melodic progression, and it ▓▌ ▓████▓▌ consists of the use of various pentachords, ▓▌ ▓████▓▌ tetrachords, trichords or even fewer notes peculiar ▓▌ ▓████▓▌ to other makams. Such borrowed notes may in time ▓▌ ▓████▓▌ become part and parcel of the makam in question. ▓▌ ▓████▓▌ Both the melodic progression and flovour cannot be ▓▌ ▓████▓▌ isolated from the concept of makam in Ottoman ▓▌ ▓████▓▌ classical music. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ A composer or practitioner of makam music is never ▓▌ ▓████▓▌ satisfied with a bare scale. He takes delight in ▓▌ ▓████▓▌ adding a new flovour or colour to the scale, ▓▌ ▓████▓▌ borrowing elements from other makams and ▓▌ ▓████▓▌ juxtaposing them with those of the makam s/he is ▓▌ ▓████▓▌ using. Thus, as makams were practised the concept ▓▌ ▓████▓▌ of makam has become an exceedingly complex musical ▓▌ ▓████▓▌ phenomenon in Ottoman music. Ottoman composers have ▓▌ ▓████▓▌ contionuously broadened out and enriched the ▓▌ ▓████▓▌ structure of oriental makams they had borrowed from ▓▌ ▓████▓▌ pre-Ottoman Islamic musical traditions on the one ▓▌ ▓████▓▌ hand, and developed completely new makams on the ▓▌ ▓████▓▌ other. Such exquisitely elaborated makams as ▓▌ ▓████▓▌ s√znΓk, hicazkΓr, evcΓrΓ, ferahnak, s,edaraban, ▓▌ ▓████▓▌ suzidil, suzidilΓrΓ, ferahfeza, sultanεyegΓh, ▓▌ ▓████▓▌ s,evkefza and many others are exclusively the work ▓▌ ▓████▓▌ of Ottoman musicians. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ The rhythmic cycle, which is called "us√l", is the ▓▌ ▓████▓▌ second important component of Ottoman classical ▓▌ ▓████▓▌ music. Us√l is a combination of several rhythms. ▓▌ ▓████▓▌ Like its makams, Ottoman music has its ▓▌ ▓████▓▌ characteristic, rich and complex usuls some of ▓▌ ▓████▓▌ which are not found in Western music, and these ▓▌ ▓████▓▌ cycles add much variety to this music. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Ottoman music has a largo number of composition ▓▌ ▓████▓▌ forms. It has both vocal and instrumental genres. ▓▌ ▓████▓▌ Religious music and secular music have their own ▓▌ ▓████▓▌ composition forms. The extant vocal and ▓▌ ▓████▓▌ instrumental works composed within the last five ▓▌ ▓████▓▌ centuries form a large repertoire though countless ▓▌ ▓████▓▌ compositions were lost since the Ottoman tradition ▓▌ ▓████▓▌ was based on an oral tradition. Though it is not ▓▌ ▓████▓▌ possible to give the exact number of Ottoman ▓▌ ▓████▓▌ compositions that have survived, it is not ▓▌ ▓████▓▌ difficult to estimate that the present repertoire ▓▌ ▓████▓▌ has at least seven or eight thousand religious and ▓▌ ▓████▓▌ secular works. There have been other rεch classεcal ▓▌ ▓████▓▌ musical traditions in the MI.ddie East, but many of ▓▌ ▓████▓▌ them did not survive until the present day and ▓▌ ▓████▓▌ became obsolete. Amongst other musical traditions ▓▌ ▓████▓▌ in the Islamic world, Ottoman music deserves ▓▌ ▓████▓▌ specεal attention since it has by and large been ▓▌ ▓████▓▌ able to preserve its musical heritage. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Apart from the musical forms based on a composed or ▓▌ ▓████▓▌ written melody, Ottoman music used improvisation as ▓▌ ▓████▓▌ a distinct composition form, and thεs is a peculiar ▓▌ ▓████▓▌ aspect of this music. Improvisation can both be ▓▌ ▓████▓▌ vocal and instrumental. These are called the gazel, ▓▌ ▓████▓▌ and taksim respectively. Both forms of ▓▌ ▓████▓▌ improvisation are considered to be a criterium to ▓▌ ▓████▓▌ Judge the musicians' knowledge, inspiration and ▓▌ ▓████▓▌ talents. A standard improvI.sation on a given ▓▌ ▓████▓▌ makam, representing the main steps of the scale ▓▌ ▓████▓▌ does not demand great artistry. Any trained or ▓▌ ▓████▓▌ experienced musician can produce average ▓▌ ▓████▓▌ improvisations. What is difficult is to be able to ▓▌ ▓████▓▌ practise the makams in an unusual manner ▓▌ ▓████▓▌ captivating the music lovers both by fresh melodies ▓▌ ▓████▓▌ and high technical skills. A good improvisation is ▓▌ ▓████▓▌ Just as remarkable as a written composition. For ▓▌ ▓████▓▌ example, Tamburi Cemil Bey's instrumental ▓▌ ▓████▓▌ improvisations have always been compared to the ▓▌ ▓████▓▌ written masterpieces of the repertoire. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ In the vocal impovisations, called gazel, the ▓▌ ▓████▓▌ performer often chooses a quatraεn from Divan ▓▌ ▓████▓▌ literature, the classical Ottoman poetry, and ▓▌ ▓████▓▌ freely elaborates it on a makam s/he consεders ▓▌ ▓████▓▌ suitable for the poetic meaning of the quatrain. In ▓▌ ▓████▓▌ a well-improvised gazel, the performer tries to ▓▌ ▓████▓▌ treat the poem as masteriy as a composer does, that ▓▌ ▓████▓▌ is, creates a remarkable melody for each line of ▓▌ ▓████▓▌ the poem and makes it a musical sentence. In the ▓▌ ▓████▓▌ third line, just as in almost all the notated ▓▌ ▓████▓▌ compositions, he opens a meyan, which is suitable ▓▌ ▓████▓▌ for a striking modulation, and finally returns back ▓▌ ▓████▓▌ to the initial makam. A fully fledged gazel can be ▓▌ ▓████▓▌ performed as an independent piece, but it can be ▓▌ ▓████▓▌ placed right after the meyan (the third line) of a ▓▌ ▓████▓▌ notated song to add a varlety to the concert. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Both gazels and taksims have no us√l. However, they ▓▌ ▓████▓▌ are not deviod of rhythm. They are free-rhythmic ▓▌ ▓████▓▌ melodies, and for thεs reason they are rather ▓▌ ▓████▓▌ difficult to notate. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ A gazel performer is often accompanied by an ▓▌ ▓████▓▌ instumentalist who plays connective short musical ▓▌ ▓████▓▌ phrases between the lines of verse / musical ▓▌ ▓████▓▌ sentences where the singer pauses. Some ▓▌ ▓████▓▌ instrumentalists may perform a very short taksim at ▓▌ ▓████▓▌ the beginning of the gazel. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ The best examples of the Turkish gazel repertoire ▓▌ ▓████▓▌ can be heard from 78 rpm records. Haf?z Sami, Haf?z ▓▌ ▓████▓▌ Osman, Haf?z Kemal, Saddetin Kaynak and Mⁿnir ▓▌ ▓████▓▌ Nurettin Selτuk are the most appreciated gazel ▓▌ ▓████▓▌ singers in Turkish music. Except Mⁿnir Nurettin ▓▌ ▓████▓▌ Selτuk, all these singers were haf?z, that is, the ▓▌ ▓████▓▌ Koran reciters. As the Koran, the religious ▓▌ ▓████▓▌ eulogies such as the Mevlid and others, and the ▓▌ ▓████▓▌ ezan (call-toprayer) have been musically improvised ▓▌ ▓████▓▌ as they were recited, the great majority of the ▓▌ ▓████▓▌ gazel singers were haf?z who have memorized the ▓▌ ▓████▓▌ Holy Book, though gazel itself was a secular genre ▓▌ ▓████▓▌ and has also been performed by muskians who had no ▓▌ ▓████▓▌ religious function. However, the gazel has widely ▓▌ ▓████▓▌ beeen used by non-Muslim musicians, too. Izak ▓▌ ▓████▓▌ Al-Gazi (Jew), Udε Marko Melkon Alemsherian ▓▌ ▓████▓▌ (Greek), Abraham Caracach (Jew), Osep Efendi ▓▌ ▓████▓▌ (Armenian), and many others have sung gazels. ▓▌ ▓████▓▌ Interestεngly enough, vocal improvisation has made ▓▌ ▓████▓▌ an impact on the Jewish liturgical music performed ▓▌ ▓████▓▌ in Istanbul synagogues. The Maftirim (choral ▓▌ ▓████▓▌ singing) in Turkish synagogues always begins with a ▓▌ ▓████▓▌ vocal improvisation on a certain makam and ends ▓▌ ▓████▓▌ with another improvisation. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Gazel has been performed by Muslim and non-Muslim ▓▌ ▓████▓▌ female Ottoman musicians as well. Hikmet R?za, ▓▌ ▓████▓▌ Gⁿzide, Lale and Nerkis Han?mlar, Nevzat Akay, ▓▌ ▓████▓▌ Safiye Ayla, Hamiyet Yⁿceses, Perihan Alt?ndag( ▓▌ ▓████▓▌ S÷zeri, Radife Erten and many others have sung ▓▌ ▓████▓▌ admirable gazels tor 78 rpm records. ▓▌ ▓████▓▌ ▓▌ ▓████▓▌ Gazel was a very popular genre at the beginning of ▓▌ ▓████▓▌ thεs century. This CD offers a selection of those ▓▌ ▓████▓▌ popular gazels sung by the best musicians of the ▓▌ ▓████▓▌ last quarter of the nineteenth and the first halt ▓▌ ▓████▓▌ of the twentieth centuries. Today the gazel singing ▓▌ ▓████▓▌ seems to be a dying tradition. Only very few ▓▌ ▓████▓▌ musicians can perform good gazels. ▓▌ ▓████▓▌ ▓▌ ░ ▓████▓▌ ▓▌ ▓ ▐█████▓█ [ A B O U T . U S ] ▓▌ ▀█▄▓████▓▓▄█▀ ▓▌ ▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌ ▀█▓▓▓▀ siasts. Justfun is releasing different kind of music ▓▌ ▀▓ like indie rock, trip-hop, ethnic, jazz, french, ▓▌ ░ electro and many more ... We will bring you the music ▓▌ ░ we like and share it with the rest of the under- ▄ ▓▌ ░ ground scene. If you have, like us, a passion for ▄▄█▌ ▓▌ ░ music, don't hesitate to contact us ! ▄████▓▌ ▓▌ ░ █████▀▀▀▀ ▓▌ ░ GREETinGs : Nuhs . Hit2000 . DGN . Ksi . SEQ . CHR ░███ ▓▌ ░ Om . Rh . Fuffens . Remix . FMF . SB ██▌ ▓▌ Kw . LOGOS . iTs . i . ATM . Aaf ... ▓██ ▓▌ ░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌ ▐▓ ▐░▓▓▓▓▌ ░ ░▌ ▀■░▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▄█▓█▄▄■▀ ▄█▒████████▓▓▀ ▀▀▀▀▀ ▀▓██▓███▓▄ ▄▓██▓██████▓▓█▀ ▀▀▀▓██▓▌ ▓█████████▓▓█▀ ▐█▄██▓▀ ▐███▓██▀▀▓▀░ ██▓▓█▀▀ ▓████▓▌ ░ ▐▓▀▀ ▓████▓▌ ▀ ░▌ ░ ▓████▓▌ ▓▌ ▓ ▐█████▓█ ▄ ▓▌ ▀█▄▓████▓▓▄█▀ ▄▄█▌ ▓▌ ▀██▓██▓▓▀ ▄████▓▌ ▓▌ ▀█▓▓▓▀ █████▀▀▀▀ ▓▌ ▀▓ ░███ ▓▌ ░ ██▌ ▓▌ ▌ ▓██ ▌ ▓▌ ░ ▐▓ ▄▄▄██▌ ▐▓ ▓▌ ▐▓ █▓▌ ▐░▓▓▓▓▌ █▓▌ ░▌ ▀■▄▐█▓▓ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▐█▓▓ ▄■▀ ░ ███▓▓ ▀▀▀▀▀ ███▓▓ ▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄ ▀▓█████████████▓▓▓▀ ▀▓█████████████▓▓▓▀ ░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀ ▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓ ▐███████▓▓▌ ▐███████▓▓▌ ▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓ ▐█▓▀ ░▀█▓▌ ▐█▓▀ ░▀█▓▌ █▀ ▀▓ █▀ ▀▓ ▀░ ░ ░▀ ▀░ z!░▀