Yli 50 dating

Etsitään : Ei väliä 46 - 50 yli 12 kuukautta sitten. 1. Aktiivinen: yli 12 kuukautta sitten. Sharra. Perusjäsen. 27 ... 50plusmatch on asiallinen deittisivusto aktiivisille aikuisille. Sivusto kuuluu kansainväliseen MatchMediaan, mutta käytännössä sivusto on maakohtainen, eli 50plusmatchissä voi deittailla suomalaisia. 50plusmatch on vain yli 50-vuotiaille. 50plusmatch on Suomen ensimmäinen ja suosituin 50-plus deittisivusto, jossa aktiiviset aikuiset voivat löytää samanhenkistä seuraa. 50plusmatch ... Deittisivusto aktiivisille 50-plussille. 50plusmatch.fi on deittisivusto aktiivisille 50-plussille, jotka etsivät vakavaa suhdetta. Kirjaudu ilmaiseksi sisään! Keskipitkä on suuri naisten yli 50, koska se on edelleen tyylikäs ja seksikäs, mutta ei niin kauan näytät yrität olla 25 uudelleen. Itse asiassa se on afavorite pituus kaikenikäisiä naisia, koska et yksinkertaisesti voi mennä vikaan leikkaus, joka osuu jonnekin leuan ja muutaman tuumaa alle olkapäät. Linda first met the love of her life at Maui High School. Niles Cravalho was a senior when Linda was a freshman. They reconnected in 1951 at a C.Y.O. activity and started dating. After Niles was honorably discharged from the service, he married Linda on June 14, 1952. Yli 50-vuotiaathan ovat tänä päivänä valloittaneet netin treffipalstat. Tämän ikäluokan erotilastot ovat kasvussa sekä monilla voi olla takanaan myös puolison menehtyminen ja sitä kautta he ovat astuneet toiselle kierrokselle 50+ treffailun ihmeelliseen maailmaan. Eli mikäli olet itse tätä ikäluokkaa, ei kannata enää arkailla ... Dating; Paras kihara kampaus naisille yli 50 vuoteen 2018 10 marraskuu 2018. Tiedän ton naisten luonnostaan tukka. Ne taistella frizzies minuutti siellä kosteutta ilmassa ja monet heistä suoristaa hiuksiaan kemiallisesti tai kautta rengasrikko prosessi. Etsitään : Ei väliä 28 - 45 yli 12 kuukautta sitten. 1. Aktiivinen: yli 12 kuukautta sitten. Leopold. Perusjäsen. Varmennettu. 54 • Hettstedt, Saxony-Anhalt, Saksa Etsitään : Ei väliä 18 - 50 yli 12 kuukautta sitten. 3. ... Now for the fun part, using a dating app like Lumen to start dating over 50. It’s time to rip up the rule book, because dating apps are the game-changer you need. Thanks to dating apps, you’ll be able to find people just like you that are looking for someone to share their golden years with. Kaikkina kauneuden ja itseluottamuksen rakastajana minun todellinen intohimoni on hiuksissa: leikkauksia, värejä, trendejä ja aina etsimässä parhaiten! Ikä on oikeastaan vain numero, ja nyt enemmän kuin koskaan nainen, joka on yli 50-vuotiaista, nauraa parhaansa ulkonäöltään keskipitkällä hiustyylillä kaikentyyppisillä hiustyypeillä: kaikki erilaiset hiustekstikuvat, tyylejä ...

My Tallest Empire Yet - Han'Felir Interplanetary Nation, an Inward Perfectionist Society

2020.08.26 06:34 c0horst My Tallest Empire Yet - Han'Felir Interplanetary Nation, an Inward Perfectionist Society

I spent the past like 20 hours or so of my game time playing this race, and had a pretty good time doing it for the most part, so I wanted to memorialize them in a post here before moving on to something else. I like playing Inward Perfectionists, since they generally let me just be left alone to do my own thing, without worrying about outsiders. I had a few minor wars early on, but no territory was lost or gained. My game was set to mostly defaults, with a 1000 star galaxy, default game dates, and a 25x Crisis strength, on Grand Admiral difficulty.
Victory Screen: https://i.imgur.com/VVIQd4A.png
Civics: https://i.imgur.com/YNgsNjf.png
Some information about my Empire's size and expansions:
2200 - 2350
Ascension Path
I chose to go for Evolutionary Mastery. I felt it synergized best with Inward Perfection, since I get bonuses to pop growth anyway. My species in the end looked like this. I absorbed some refugees of my species who were psionic, and so made my entire pop Psionic. I did the same when I got some Cyborg pops. On Ecumenopolis worlds, I was able to achieve +200% pop growth, so my population grew fairly fast on my 9 Ecumenopolis worlds. By the end of the game, I had nearly 8,000 organic pops living in my empire, with 2500 robots.
Science and Tech
Since I started with a Ringworld, I didn't build a single research building that wasn't actually on a Ringworld... all research was handled by rings. By the end game, I had 7 Ring worlds, if you count the one I started with. These were all in my home sector, clustered around my homeworld. Most of these were dedicated to research, though I did have 2 commercial ring segments to boost trade. My main researchers were Psionic Cyborgs, with decently high bonuses to research speed. I had +122K research by the year 2500, so I was able to boost my fleet's power significantly with repeatable research.
Military Strength
The entire point of this run was to get strong enough to fight off a 25x Crisis... so when the Contingency attacked in 2470, I was ready. My fleets relied on Kinetic weaponry and Dark Matter shields, with a Juggernaut that boosted their engagement ranges. These fleets were entirely composed of Battleships and Titans, mostly Kinetic Artillery + Giga Cannons, though about a third of the battleships were Carriers with strike craft for point defense and dealing with smaller ships. All key systems were held with a swarm of orbital platforms, so they had defensive strengths ranging from 400K-800K... not enough to seriously threaten a Contingency fleet, but it left me pretty much immune to the regular AI's just in case one decided to get froggy.
My initial fleet strength when the Contingency attacked was about 20M, so I was able to kill the first Machine world pretty easily. The second one proved a bit harder, they had about 24M of fleets stacked up on their home world, so I engaged and fought through it, but then a second death stack showed up through a gateway in their home world system and badly mauled my fleets. I won the battle, but my fleets were reduced to 50% strength. I killed the second machine world, returned to my home base and repaired and re-armed for 10 years, then hit the third Machine world. The Contingency managed to get together another doom stack of about 30M, and that was a pretty epic fight, but I beat it with only about 20% casualties to my fleet, so I just shattered the next 2 Machine worlds about 2 months before the 2500 victory date.
I had a lot of fun with this Empire. The late 2300's up until the Crisis was kind of boring, it was mostly me just researching repeatables, but I had an audio book on in the background, so it was pretty chill. Like I initially said, this was the tallest empire I've done to date, with a fairly small footprint, though by the end of the game I had 38 worlds, 24 orbital habitats, and 27 ring world segments, so I guess it could have been taller, but with only 59 systems in the end, that's 5.9% of the total galaxy, so that is pretty compact.
submitted by c0horst to Stellaris [link] [comments]

2020.07.01 18:22 DevilsDragon Welcome to Devils Dragon

Welcome to Devils Dragon
What is Devil´s Dragon?
The DEVIL´S DRAGON TOKEN (DDGN) is not only a reflection of a practical society that is uniquely designed to sustain peer-to-peer (P2P) engagement or a simple Token enhanced by the ERC-20 Ethereum Blockchain, which enables the development of Decentralised Applications (DApp) that enable transactions to sell, exchange, and trade, it is also a unique multi-use cryptocurrency with many active sites.
Whitepaper: https://www.devilsdragon.com/whitepaper.pdf Website: https://www.devilsdragon.com
(ICO Information / Token Economics)
Token name: DEVIL´S DRAGON Token symbol: DDGN - Token Supply: 180 000 000 NOT MINTABLE Decimals: 18 Token type: ERC20
PRESALE STARTS: 2020-08-15 00:01 ENDS: 2020-08-31 23:59
Token rate 2000 DDGN = 1 ETH for PRIVATE - PRESALE ONLY, in SALE (ITO) RATE will be: 1000 DDGN = 1 ETH
TIME BONUS for PRESALE ONLY Bonus: 50% Date from 2020-08-15 00:01 Date to 2020-08-31 23:59
Community & News Channels
Telegram Official:http://t.me/devilsdragon_official Twitter:https://twitter.com/dragon_devils Discord:https://discord.gg/xCwyntG Reddit:https://www.reddit.com/useDevilsDragon Medium:https://medium.com/@devilsdragon_official Bitcointalk: Coming Soon!
For any kind of business, purpose email us: [[email protected]](mailto:[email protected])
A few of the sites accessible via DDGN are: (Warning, some of them may involve adult material) www.leons.tv www.socialmediacelebs.com www.mywhitewhale.com www.pantyhoseacademy.com

submitted by DevilsDragon to u/DevilsDragon [link] [comments]

2020.04.20 12:51 LoveNikkiMods All 3rd Anniversary Content (except Hell Event)

Anniversary Content Summary

Buckle your seatbelts, my little grilled fishies!🐟 This one is a doozy.
This is a thread to keep all the delicious content we have coming our way for the Anniversary in one place. This should hopefully make it easier for the community to navigate resources since we won't have 9 different threads 😧

Calendar of Anniversary STUFF

By default this is organized by start date

🔥🔥🔥Click the column you want to sort by!🔥🔥🔥

Login Rewards 4/16-4/20 Free 365💎+10 Fantasy Tix+100 SC+365❤️+100k💰 Gift
Double 💎 Reset 4/20 Recharge
First Recharge Suit Bloom of Youth 4/20 $1.99 min Recharge
Carnival Tix Reset 4/20 $9.99 Carnival Ticket Recharge
Background Pack Bovaly Lakeside 4/20 $4.99 Pack
Background Pack Forest Ice Crystal 4/20 $4.99 Pack
Welfare Event Clover Adventure 4/20-4/29 Free Event
Welfare Event+ Debbie Easter Egg 4/20-4/29 Free 💎,❤️,💰,SC Event+
Debbie's Gift 4/20-4/29 Free 99 ❤️ Gift
Hell Event Universe Tide 4/20-5/6 ~13-24k💎 Event
Login Suit Bubble Song 4/20-5/6 Free Gift
Free Suit Floral Movement 4/20-5/6 Free Gift
Login Rewards Postcards 4/20-5/6 Free 50-88💎 DAILY Gift
Thank U Store Suit Mechanician Poet 4/20-5/6 $5.99 5 Postcards (sending) Pack
Thank U Store Items Alchemistress Parts 4/20-5/6 240💎 40% off Pack
Boutique Suit Top of Cloud 4/20-5/6 $0.99 40% off Pack
Boutique Suit Stellar Witch 4/20-5/6 $1.99 40% off Pack
Cumulative Recharge God of Wind 4/20-5/6 6300 EXP Recharge
Lucky Bags 5 Suits 4/20-5/6 87 Jade Pendant Recharge
Discount Guild Recruiting 4/20-5/6 40% off 💎 Other
Princess 3x Drop Rate&Gold 4/23-4/26 Other
No Princess Tries Cap 4/23-5/3 Other
99¢ User Shop Packs Value Packs 4/23-5/3 99¢ 💎,❤️, SC,💰 Pack
Crafting Quest White Blossom 4/23-5/3 200💎+5 Fantasy Tix+100 SC Other
2x SC Arena 2x 4/27-4/29 75 SC max for free Other
Princess 3x Drop Rate&Gold 4/30-5/3 Other


1. Hell Event - Universe Tide (aka Tree of Memories/Tree of Life by players)

See the Hell Event thread here for all discussion, questions, and costs!
Apr 20 - May 6
Please don't discuss in this comment section!
(Don't worry, I added a translation/FAQ section there too. <3)

2. Welfare Event - Clover Adventure

Apr 20 - Apr 29
10 day event
Average cost of ~2480 stam (Maiden only) & ~3720 stam (Princess only)
A Facebook bound v0 in a 5-star association will gain approx 5k stamina for free [...] GlitterUnicornPuke's Addendum: This means a V0 will be able to get the suit for free, even if only farming Princess levels!

3. Debbie Easter Egg

Apr 20 - Apr 29
What is it?
In this welfare event bonus, Debbie will show up between every 5-10 story stages completed, and ask you for 5-50 Clover Adventure currency, which you can trade her for 💎, ❤️, 💰, and SC, or deny her and keep the currency.
  • The Easter Egg (Debbie smiling WITH sharp tooth) means you get 2x the amount of rewards you normally would when you accept her request!
Diamond Maximizing Strategy by the Squirtle Squad! Infographic
(*Glitter's Note: I've reworded, but all this info is from the Squirtle Squad!)
  • Take low currency reqs the first 2 times after an Easter Egg
  • Do "Done 1", NOT "Done #" (multiple levels in one button)
  • To maximize rewards, do Maiden levels instead of Princess
  • An easter egg can show up every 3-9 reqs you give her AFTER an Easter Egg, which is why you take low currency requests for the first two, when an easter egg is impossible.
  • See here for more on this by the Squirtle Squad!


1. Lucky Bags

Apr 20 to May 6
  • Recharge certain diamond amounts in the "$$ for 💎-only page" to earn Jade Pendants. ANY other purchases will NOT count.
  • Trade Jade Pendants for 5 possible Lucky Bag suits, all with new makeup!
    • Pegasus's Dream
    • Fox's Trace
    • Magic Recipe
    • Feathery Dream
    • Peach Heart
  • Lucky Bags don't drop duplicates
  • If you purchase ALL of the 5 above suits, you can get access to buying older lucky bag suits.

Cheapest Way to get All Lucky Bag Suits vs. Best Value

Price 💎 Value (💎/$) # Suits (MAX) 💎 Tiers
$73.96 8900 ~120 5 100+100+1200+3100
$74.97 9120 ~122 5 260+1200+3100
$99.99 12,600 ~126 8 6300
To get all 5 lucky bag suits:
  • The cheapest but worst value way is the top option for $73.96.
  • The best value if you only want the 5 new lucky bag suits is the middle option, where you pay $1.01 more and get 220💎 more, which is worth about $4.
  • The best value if you want to get past lucky bags is the bottom option, where you pay $26.03 more than the cheapest option and get the 5 new suits and 3 more past lucky bag suits AND you get 3700💎 more, which is worth about $60.
  • HD Video

2. Cumulative Recharge - God of Wind

Apr 20 to May 6
  • Recharge to 6300 VIP Exp for suit
  • Golden mermaid suit God of Wind comes with new makeup and new background
  • This means those diamonds you spent for lucky bags WILL COUNT toward this recharge!

3. Double Dias Reset, Bloom of Youth and Carnival Tickets

Coming on April 20th 5am
  • Completionists rejoice! For the first recharge suit, we're getting Bloom of Youth instead of the typical Winter Angel. Bloom of Youth has 1-2 recolours which we can make more progress on!
  • When you recharge above the $9.99 tier, you can get a Carnival Ticket to activate 50% in one of our long-term pavilions: Time Yard, Tower of Zen, Corridor of Clock or Porch of Misty.

4. Background Packs in User Shop

Coming on April 20th 5am

5. Thank U Store - Mechanician Poet Pack

Apr 20 to May 6
  • Find the Mechanician Poet Pack in the Thank U Store
  • $5.99 for the full suit, AND contains 5 sendable diamond postcards, so you can spread pink sparkly joy to your friends and association members!
HQ pictures

6. Thank U Store - Alchemistress Parts Pack

Apr 20 to May 6
  • Find the Alchemistress Parts Pack in the Thank U Store
  • 5 items available for 240 💎 (40% discount) for a limited time!

7. Boutique Suits - Top of Cloud & Stellar Witch

Apr 20 to May 6

8. User Shop 99¢ Packs ⚠️NEW!!⚠️

Apr 23 to May 3
Based on the wording, it sounds like there will be 4 packs, each for $0.99 and offering one of the following: 💎 ❤️ SC 💰


1. Postcards

Apr 20 - May 6
  • Get a free postcard from the game DAILY for 50-88 💎
  • Find this postcard in Sea of Trees > Reed Thought in the upper right corner picture!
  • EDIT: Unlike past times we had postcards, you CANNOT get postcards to send when buying a 💎 purchase!
  • Purchasing Mechanician Poet is the ONLY way to get postcards to send to friends! (5 postcards)
  • You'll find the postcards friends have sent and you can send in by going to the upper right corner of the Anniversary Store in the main sidebar

2. Login Suit - Bubble Song

Apr 20 - May 6
  • Login to claim this suit for free!
  • HQ Pic

3. Free Suit - Floral Movement

Apr 20 - May 6
🌼 The suit requires 760 free currency to complete
🌼 You will gain approximately 1000 free currencies
🌼 You may also exchange 160 currencies for 1 free milestone progress on the hell. There is a limit of 5 exchanges. Keep in mind prioritizing this portion you may not finish the Floral Movement suit!
Get Dew by:

4. Debbie's Gift

Apr 20 to Apr 29
  • One-time 99 Stamina gift delivered to mailbox! You must login by the end of Apr 29 to get this.

5. Login Rewards

Apr 16th to Apr 20th
  • Daily gifts via mailbox!
  • Possible Rewards: 365💎+10 Fantasy Tix+100 SC+365❤️+100k


1. Triple Drop Rate & Gold Princess (Extra-Long) Weekends!

Thursday, Apr 23 - Sunday, Apr 26 AND Thursday, Apr 30 - Sunday, May 3
  • FOUR day long weekends for bonus instead of the usual three!
  • We'll get not just the double drop rate & gold, but TRIPLE. im shook
  • There will also be no limit to the number of times you can buy extra Princess level tries, but it will still cost diamonds. (Apr 23 - May 3)

2. Momo's Quest - White Blossom

Apr 23 to May 3
Complete the lifetime suit White Blossom for:
  • 200 Diamonds 👁💎💎💎👁
  • 5 Fantasy Tickets
  • 100 Star Coins

3. Double Star Coins in Stylist Arena

Apr 27 to Apr 29
  • Get TEN coins per win and SIX coins per loss rather than the usual 5 & 3, respectively

4. Association Recruitment Discount

Apr 20 - May 6
  • Association recruiting in-game will have a 40% discount on the diamond cost to post your association for players to see!


Events Free Stuff Recharges Packs Other
Hell Event - Universe Tide Bubble Song Suit Lucky Bags Background Packs Assoc Recruiting Discount
Welfare Event - Clover Adventure Floral Movement Cumulative Recharge-God of Wind Mechanician Poet (5 Postcards) Craft Quest - White Blossom
Clover Adventure-Debbie Rewards Pre-Anni Login Gifts Double Diamond Reset Alchemistress Parts Pack Double Star Coins
Postcards First Recharge Suit swap to Bloom of Youth Stellar Witch Pack Princess Reset Cap Removed
Debbie Stamina Gift Carnival Ticket Reset Top of Cloud Pack Princess 3x Drop & Gold
99¢ Packs
Want to see the costs, dates, and rewards? Scroll up to the top to Calendar of Anniversary and sort by column by clicking label!
submitted by LoveNikkiMods to LoveNikki [link] [comments]

2019.08.05 16:48 Im-a-molecule [Artist Spotlight] - Dashboard Confessional

Dashboard Confessional
emo indie
Similar Artists
Singesongwriter Christopher Carrabba became the poster boy for a generation of emo fans in the early 2000s, having left behind his former band (the post-hardcore Christian outfit Further Seems Forever) to concentrate on vulnerable, introspective solo musings. Armed with an acoustic guitar and soul-baring song lyrics, he christened his new project Dashboard Confessional -- named after a lyric in "The Sharp Hint of New Tears" -- and began releasing material in 2000. By 2001's The Places You Have Come to Fear the Most, Dashboard Confessional had evolved into a full-fledged band, but Carrabba nevertheless remained the focal point of both the group and the rejuvenated emo genre.
Dashboard Confessional took root in Boca Raton, Florida, Carrabba's home since the age of 16. The singer had previously fronted the Vacant Andys and the Agency before joining the ranks of Further Seems Forever, but the desire to pursue something simpler led him to create Dashboard Confessional as a side project. Carrabba molded simple acoustics with passionate, personal wordplay on his 2000 debut, Swiss Army Romance, and a devout audience began to gather around the naked honesty of his lyrics. Further Seems Forever entered the studio that September to record their inaugural full-length, but Carrabba's plans to mount a solo career had already taken precedence over his current band. Nevertheless, he and his bandmates finished the album before amicably parting ways, with Further Seems Forever later recruiting former Affinity frontman Jason Gleason to replace their departed vocalist.
By late 2000, Carrabba was free to devote his undivided time to Dashboard Confessional. The Drowning EP was released in early 2001, with the full-length album The Places You Have Come to Fear the Most following soon after. The latter release featured a full band on several tracks -- a vast departure from Carrabba's previously unaccompanied material -- and the heart-rending single "Screaming Infidelities" found an immediate home on modern rock radio. Dashboard Confessional toured for several months, and Carrabba rounded out the year by collaborating with former Sunny Day Real Estate guitarist Dan Hoerner on the So Impossible EP, which was released in mid-December.
Dashboard Confessional issued Summers Kiss, a companion piece to the So Impossible EP, in April 2002. Later that year, Carrabba recorded an installment for the MTV Unplugged series, accompanied by a devoted studio audience that sang along to every word. The show was released as MTV Unplugged 2.0 and served as his breakthrough performance, eventually going platinum. Now a staple on both radio and MTV, Carrabba returned in 2003 with a permanent lineup -- including bassist Scott Schoenbeck, guitarist/pianist Johnny Lefler, and drummer Mike Marsh -- and a new album, A Mark, a Mission, a Brand, a Scar. The record topped the Billboard charts and spawned another hit single, "Hands Down," which peaked at number eight. However, it was the band's contribution of the song "Vindicated" to 2004's Spider-Man 2 soundtrack that truly resonated with a wide audience, with the song rising to number two.
Carrabba collaborated with producers Daniel Lanois (U2, Peter Gabriel) and Don Gilmore (Linkin Park, Pearl Jam) on the band's intimate 2006 release Dusk and Summer. Released in June, the album entered the Billboard charts at number two and was supported by nationwide tour dates alongside Ben Lee, Say Anything, and Brand New. Dashboard Confessional then returned to the studio with Gilmore, recording the band's fifth album, The Shade of Poison Trees, in March 2007. The album was released the following October, with its acoustic-heavy sound marking a return to the band's introspective roots. Chris Carrabba explored both sides of his personality -- the acoustic, campfire-worthy songwriter and the full-band frontman -- with 2009's Alter the Ending, which featured songs from both camps and even included a second disc comprised of stripped-down performances of the track list. After touring in support of the effort, Carrabba released a remastered version of the band's debut, The Swiss Army Romance, embarking on a solo tour to celebrate the album's tenth anniversary.
After an extended hiatus, Carrabba resurrected Dashboard Confessional for 2017's Covered and Taped EP, which featured covers of songs by the 1975, Justin Bieber, and others. Early in 2018, Carrabba returned with Crooked Shadows, his first collection of original material in eight years.
Performing, The Places You Have Come to Fear the Most
The Places You Have Come to Fear the Most was released on March 20, 2001. Following this, the band went on tour until late May. For the last half of May, they toured with The Weakerthans. Another tour in June and early July followed, before joining the Vagrant America Tour, which continued into September. The group added Sunny Day Real Estate guitarist Dan Hoerner to their line-up, and closed the year with a six-week long headlining tour from late October to early December. A music video was filmed for "Screaming Infidelities" in early January 2002 with directors Maureen Egan and Matthew Barry. The track was remixed by Andy Wallace and released as a single on January 15. The song's music video debuted later in the month and was in heavy rotation at MTV and MTV2. Following this, the album was given retail exposure with listening booths at various big chain stores.
In addition, the release received heavy airplay support from 89X, KFSD and WVEP. In March and April, they went a tour of the US with support from The Anniversary, Ben Kweller and Seafood. By June, John Lefler joined the band as an additional guitarist. In July and August, the group supported Weezer on their headlining US arena tour. Following this, the band went on the Vagrant America arena tour, alongside other Vagrant Records bands. A music video for "Saints and Sailors" premiered on MTV2 on August 22. The clip was one shot at the El Rey Theatre in Los Angeles, California. At the end of the month, the group appeared at the Reading and Leeds Festivals. In October and November, the group went on a headlining US tour with support from Piebald and Rhett Miller.
The Places You Have Come to Fear the Most sold 2,500 copies in its first week, over 40,000 copies by August, and 65,000 by the end of the year. By mid-2002, it surpassed the 200,000 mark, and was close to the 400,000 mark by early 2003. As of August 2003, sales stood at 426,000 copies. The album has been certified Gold by the RIAA, meaning it sold over 500,000 copies in the United States.
The album, according to Rock Sound, gave Dashboard Confessional "a ton of worldwide exposure." This resulted in Carrabba becoming "the poster boy for the emo resurgence of the early 2000s" and the album "defin[ing] an entire movement."
No. Title Length
1. The Brillant Dance 3:03
2. Screaming Infidelities 3:46
3. The Best Deceptions 4:15
4. This Ruined Puzzle 2:52
5. Saints and Sailors 2:33
6. The Good Fight 2:27
7. Standard Lines 2:27
8. Again I Go Unnoticed 2:17
9. The Places You Have Come to Fear the Most 2:56
10. This Bitter Pill 3:14
Total Length 29:50
Studio Albums
The Swiss Army Romance (2000)
The Places You Have Come to Fear the Most (2001)
A Mark, a Mission, a Brand, a Scar (2003)
Dusk and Summer (2006)
The Shade of Poison Trees (2007)
Alter the Ending (2009)
Crooked Shadows (2018)
Previous Spotlight - Frank Iero and the Future Violents
submitted by Im-a-molecule to RiotFest [link] [comments]

2019.01.07 01:25 dj-gutz Agreement with Satoshi – On the Formalization of Nakamoto Consensus

Cryptology ePrint Archive: Report 2018/400
Date: 2018-05-01
Author(s): Nicholas Stifter, Aljosha Judmayer, Philipp Schindler, Alexei Zamyatin, Edgar Weippl

Link to Paper

The term Nakamoto consensus is generally used to refer to Bitcoin's novel consensus mechanism, by which agreement on its underlying transaction ledger is reached. It is argued that this agreement protocol represents the core innovation behind Bitcoin, because it promises to facilitate the decentralization of trusted third parties. Specifically, Nakamoto consensus seeks to enable mutually distrusting entities with weak pseudonymous identities to reach eventual agreement while the set of participants may change over time. When the Bitcoin white paper was published in late 2008, it lacked a formal analysis of the protocol and the guarantees it claimed to provide. It would take the scientific community several years before first steps towards such a formalization of the Bitcoin protocol and Nakamoto consensus were presented. However, since then the number of works addressing this topic has grown substantially, providing many new and valuable insights. Herein, we present a coherent picture of advancements towards the formalization of Nakamoto consensus, as well as a contextualization in respect to previous research on the agreement problem and fault tolerant distributed computing. Thereby, we outline how Bitcoin's consensus mechanism sets itself apart from previous approaches and where it can provide new impulses and directions to the scientific community. Understanding the core properties and characteristics of Nakamoto consensus is of key importance, not only for assessing the security and reliability of various blockchain systems that are based on the fundamentals of this scheme, but also for designing future systems that aim to fulfill comparable goals.

[AAC+05] Amitanand S Aiyer, Lorenzo Alvisi, Allen Clement, Mike Dahlin, Jean-Philippe Martin, and Carl Porth. Bar fault tolerance for cooperative services. In ACM SIGOPS operating systems review, volume 39, pages 45–58. ACM, 2005.
[ABSFG08] Eduardo A Alchieri, Alysson Neves Bessani, Joni Silva Fraga, and Fab´ıola Greve. Byzantine consensus with unknown participants. In Proceedings of the 12th International Conference on Principles of Distributed Systems, pages 22–40. SpringerVerlag, 2008.
[AFJ06] Dana Angluin, Michael J Fischer, and Hong Jiang. Stabilizing consensus in mobile networks. In Distributed Computing in Sensor Systems, pages 37–50. Springer, 2006.
[AJK05] James Aspnes, Collin Jackson, and Arvind Krishnamurthy. Exposing computationally-challenged byzantine impostors. Department of Computer Science, Yale University, New Haven, CT, Tech. Rep, 2005.
[AMN+16] Ittai Abraham, Dahlia Malkhi, Kartik Nayak, Ling Ren, and Alexander Spiegelman. Solidus: An incentive-compatible cryptocurrency based on permissionless byzantine consensus. https://arxiv.org/abs/1612.02916, Dec 2016. Accessed: 2017-02-06.
[AS98] Yair Amir and Jonathan Stanton. The spread wide area group communication system. Technical report, TR CNDS-98-4, The Center for Networking and Distributed Systems, The Johns Hopkins University, 1998.
[Bag00] Walter Bagehot. The english constitution, volume 3. Kegan Paul, Trench, Trubner, 1900. ¨
[Ban98] Bela Ban. Design and implementation of a reliable group communication toolkit for java, 1998.
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2018.04.24 03:28 anirvan 4 amazing summer social justice trainings for ABCDesis

There are four amazing trainings/retreats this summer for South Asians with an interest in social justice, progressive issues, etc. If you're Desi and care about things like gender justice, racial justice, climate justice, etc. — you're not alone! Applying to any one of these programs will help you up your game, find peers, and connect more deeply with progressive ABCDesi communities.
Participants in these programs sometimes describe them as life-changing experiences, which help them find peers and mentors, learn their history, and most importantly—become much stronger activists and organizers. I wish I had access to programs like this when I was growing up.
Are you an alum and have stories to share? Have questions about any of these programs? Wondering why anyone would want to attend? Leave a comment below!

Bay Area Solidarity Summer (BASS)

East Coast Solidarity Summer (ECSS) [applications closed]

Chicago Desi Youth Rising (CDYR)

SAALT Young Leaders Institute (YLI)

(YLI 2018 application and final dates are coming soon!)
  • Established: 2012
  • Age range: 18-22 (?)
  • Date: coming very soon
  • Application deadline: coming very soon
  • Special focus: Connecting local action with national policy
  • Location: Washington, DC (seeking applicants from anywhere in the US)
  • Cost: Free?
  • Run by: SAALT
  • Website: http://saalt.org/programs/young-leaders-institute/
  • Social media: Facebook, Twitter
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2018.01.08 17:41 ThumbForke Artist Spotlight: Leonard Cohen

Welcome to Artist Spotlight, where members of the sub can draw attention to some of their favourite bands, or maybe help guide you through a more daunting discography! This week, mr-spectre will be talking about Leonard Cohen.
Introduction and beginnings:
Leonard Norman Cohen (1934 - 2016) is one of the most acclaimed poets and singer-songwriters of the 20th century. A long-time favourite to win the Nobel prize for literature, recipient of the order of Canada and the Prince of Asturia awards, an inductee to the rock and roll hall of fame, the Canadian music hall of fame, and the Canadian songwriters’ hall of fame. Cohen pretty much did it all.
Born to a Jewish Canadian family in Montreal, he started his career as a poet and novelist publishing numerous volumes of work in the 50s and early 60s to middling success. It wasn't until he began recording songs that he achieved real success, becoming an icon of the burgeoning singer-songwriter scene. He would later describe his writing process as “like a bear stumbling into a beehive or a honey cache: I'm stumbling right into it and getting stuck, and it's delicious and it's horrible and I'm in it and it's not very graceful and it's very awkward and it's very painful and yet there's something inevitable about it.”
An accomplished novelist, poet, vocalist and musician Leonard Cohen died on the 21st of September 2016 - just weeks after the release of his final album ‘You Want It Darker’. He remains one of the most lauded and awarded literary and musical figures in recent history, with a massive discography to dive into - so shall we?
Songs trilogy (1967 - 1974)
After the mediocre reaction and lack of real financial success that his literary career awarded him, Cohen turned down a lucrative offer to host a daily Canadian news show. The seed of becoming a musician took root in his brain instead. Most of his twenties were spent on the island of Hydra on the Greek coast. His physical and emotional experiences there would shape the structure of his début album: Songs of Leonard Cohen.
Songs of Leonard Cohen was a cult hit, and a critical darling from release, thanks to a string of successful performances on TV in the lead up to its release. SOLC is what some consider to be Cohen's finest work, and the best example of just what the man could do with a few words and simple strumming of his guitar. Dark, slow, and deliberate - but always hopeful.
SOLC is unusual for a Cohen album in that its almost entirely biographical. Songs like Suzanne (based on the sculptor Suzanne Verdal - who Cohen almost had an extra-marital affair with), and So Long Marianne, about his muse and one time love interest, Marianne Jensen, show Cohen at his most honest and literal. Later he would shift to being more mysterious and metaphorical, only talking about his inspirations in vague, abstract images and smoky metaphors - but in this moment we see Cohen stripped naked and baring his soul to us, aided by the often minimalist and hypnotic orchestrated instrumentation that would characterise the trio of albums he introduced himself with.
Songs From A Room followed two years later in 1969, amidst a changing music scene, but Cohen remained much the same as he was before - helped along by Bob Dylan's and Johnny cash's producer, Bob Johnson. He maintained his lyrical mastery and doubled down on the sparseness of SOLC, featuring less drums and focusing more on Cohen's voice and message. While now this album is now considered one of his greatest, it experienced a mild critical backlash at the time of release. Rolling Stone critic Alec Dubro stating that "it looks like Leonard Cohen's second try won't have them dancing in the streets either. It doesn't take a great deal of listening to realize that Cohen can't sing, period.” But also maintained that “And yet, the record grows on you..”
And I have to agree with that sentiment, this album is considerably more difficult and harder to grasp than the rest of the Songs trilogy, caught in a strange mix of SOLC's intimate honesty and SOLAH's abstract smokiness, tinged with a considerable degree of religious allusions and a very sparse, desolate and somewhat impenetrable atmosphere. After a few listens however, the album begins to unveil itself and unwind it's mysteries - leaving a dark and rewarding array of some of Cohen's most fascinating tracks, such as the Partisan, a disconcerting and unsettling look at life in the French resistance, Story of Isaac, a retelling of the binding of Isaac that doubles up as a scathing anti-war ballad and of course the legendary Bird On the Wire (one of Cohen's finest works lyrically).
So while Songs From a Room was considered a bit of a dip in quality at the time, Cohen would follow it up with the legendary Songs of Love and Hate in 1971. Fresh from his first ever tour with stops in Europe, America and his native Canada, Cohen released this searing, apocalyptic collection of songs dealing with themes of death and heartbreak tinged with a new sinister and sneering vocal style that Cohen had begun to utilise in live settings. In a way this album is a combination of the first two albums, featuring a mix of SOLC's more lively orchestration and SFAR's dark and brooding lyrical approach, less direct than the former but more immediately approachable than the latter. In terms of individual tracks this one features Famous Blue Raincoat, an epic and bittersweet tale of a love triangle that Cohen implies he was the cause of (later confessing that the famous blue raincoat mentioned belonged to him), Diamonds in the Mine, an often maligned track that portrays a more violent and unhinged Cohen barking about the state of the earth and the plunder of its natural resources, Joan of Arc, another epic that retells the tale of the French Martyr and her relationship with the fire that would kill her and Dress rehearsal rag, a scathing and self-critical take down of his own aging body and worldview. This one has it all - and if you listen to only one Cohen album after this I'd ask you to make it songs of love and hate.
Followups and failures (1974- 1984)
After the success of the songs trilogy Cohen would find himself, much like Dylan, being painted as the reluctant voice of a disillusioned generation and would begin to rub shoulders with musical royalty like Janice Joplin, Phil Spector and Bob Dylan himself. As such his change and approach to song-writing began to shift and change having remained very much the same way for his first three albums, this is evident on New Skin for the Old Ceremony. This one takes a more subdued approach to lyricism but also shows a more full instrumental sound utilising violins, acoustic guitars, Banjos and drums. The mood is considerably lighter than any of the song trilogy and overall seems to show Cohen moving away from the minimalist style of those songs and into something more musical and rounded.
After this Cohen would go to work Phil Spector, famed producer of "Let It Be" and a primary influence on artists like The Beach Boys and Bowie. A bizarre match up for sure even if Cohen had begun to experiment with more varied instrumentals on recent songs and one that ultimately bore the critically maligned Death of a Ladies' Man. This one is difficult. It has none of Cohen's fantastic lyrical intricacy and some of the songs are so awash with lavish orchestral flair that at times it often feels like Cohen had no involvement at all. It feels like a Phil Spector release, and a mediocre one at that. The recording of the album was also a messy and divisive affair with Cohen and Spector clashing constantly over the direction it was taking as the recording sessions dragged on. Ultimately Ladies' man is considered his worst album by many fans and was released as a critical and commercial bomb, leading many baffled and weary about Cohen's next release. But he would bounce back in 1979 with Recent Songs, a record that sounds more akin to New Skin than Ladies' Man, as it utilises a full spectrum of varied instruments without the overbearing influence and over the top style of Phil Spector's production. This one is more jazzy and influenced by eastern instruments and was also entirely self produced. After the chaos of Ladies' Man, being more warmly received by both his fans and his critics. Today it's generally seen as a mid-tier Cohen release with some good songs (The Guests and Ballad Of The Absent Mare especially.)
A new Cohen and the “i'm your man trilogy” (1984 – 1992)
After the critical and commercial failure of his collaboration with Phil Spector, other than the quick release of recent songs two years after, it would be 7 years of almost total radio silence from Cohen. The 1983 score for a TV movie, and a smattering of other soundtrack work was all we heard from him for an extended period. During this break Cohen began to experiment with synthesisers, and noticed that his voice was beginning to deepen (which he would later attribute to “50,000 cigarettes and several swimming pools of whiskey”). When he finally re-emerged, with 1984's Various positions, he had a new style, sound and another trilogy of albums to put out (now known as the “I'm Your Man trilogy”).
Now considered Cohen's big comeback record, Various Positions very nearly didn't get made at all, despite featuring the classics Dance Me to the End of Love and the legendary Hallelujah (later made famous by John Cale and Jeff Buckley). After a lengthy hiatus, the failure of Ladies' man still present in people's minds and studio discouragement as to the direction of the album (Cohen would later state that Sony “didn't think it was good enough”), nobody expected Various Positions to do well. It was certainly not expected to propel him back into the spotlight - but propel him it did. With it's novel use of keyboards and synthesisers and focus on grooves and instrumentals, the album had more mainstream appeal than any of Cohen’s previous work and featured some of his biggest and most well known hits (I'd argue Hallelujah is one of the famous songs period.)
The second album of the trilogy would follow four years later with I'm Your Man. I’m Your Man doubled down on the synth based melodies and danceability from Various Positions without ever losing sight of Cohen's Lyrical process. For many Cohen fans this one is a favourite, moving away from the general lightness of Various Positions and into a darker sound reminiscent of his earlier work. It featured some of Cohen's greatest songs (Tower of Song is my personal favourite Cohen track - and Everybody Knows, Ain't No Cure for Love and the title track are also essential listening). This release would cement Cohen's return to the spotlight and show that Various Positions was far from a fluke.
The Future would follow in 1992 to conclude the trilogy of these energetic and synth heavy releases. Future is generally considered the weakest of the trilogy, taking a slower and more subdued vibe somewhat akin to how he was on the Songs trilogy. It also sees Cohen getting political (for better or for worse) for possibly the first time in his musical career on tracks like democracy. It has its upsides, Closing Time has some great backing vocals and Tacoma Trailer is a pretty nice sounding instrumental/ambient piece, but overall I'd say it’s a pretty weak release. Still worth a listen though.
Many would say that the I'm Your Man trilogy, inspired as it was by the changing production of the musical landscape and featuring heavy use of dated synths, has aged badly - and to an extent I would agree. They certainly aren't as timeless as any of the albums on the “Songs” series, and they're a lot patchier in terms of individual song quality, however I also feel that they contain some of his most fun (I'm Your Man), honest (Hallelujah), and profound (Tower of Song) tracks that he ever recorded. They’re also just a heap of fun - it's clear that Cohen had a blast writing and performing the songs, especially in comparison to his pained and almost reluctant performances on SOLC and SOLAH.
Later life and an ending (1992 - 2017)
After the release of The Future Cohen would continue to release albums for the next 2 decades at a much slower pace and, unfortunately, of a lower quality. 2004's Dear Heather especially being considered one of his least impressive ventures with uncharacteristically political ballads awash with bizarre sound effects and unimaginative instrumentation. He did have his gems during this period - 2014's Popular Problems is a strong and bluesy late career release that often gets overlooked, but for the most part Cohen's strength in this time period came from his lauded tours. Demonstrated on 1994's Cohen Live and 2009's Live from London, which is astounding for a man who had started his career not knowing how to sing or play guitar or even perform on stage. And had never made an especially prominent name for himself as a live performer in the preceding two decades of his career (except for a substantially acclaimed performance at the 1970s isle of Wight festival). But Cohen's career is sort of like that, full of surprises and changes and sudden career shifts.
I suppose it's only fitting that the man would end his career and life with such a shift. Just three weeks before his death at the age of 82, Cohen released his last venture You Want It Darker. A sombre departure from his more pleasant sounding recent releases, this one deals directly with Cohen's upcoming death but never falls into the pit of becoming tiresome or difficult to sit through. Cohen keeps a certain element of groove throughout, most evident on the funky riff of On the Level or the twisting and Mediterranean cello on Steer Your Way, that keeps it fresh and fun while never straying too far into sentimentality. It also incorporates elements of everything Cohen had learned throughout his career. Steer Your Way wouldn't be out of place on Recent Songs, the synthy and darkly atmospheric title track could fit on I'm Your Man and Leaving the Table is a smoky, nostalgic ballad reminiscent of the Songs trilogy. Cohen passed away three weeks after the release of You Want It Darker, but even in that brief period the album was being critically acclaimed and revered as one of his best of all time. An explosive and meaningful end to a fantastic life and career.
And so ended the tale of Leonard Norman Cohen, a poet, novelist, human. From a failing novelist in the 50s to a reluctant but hypnotic voice of reason in the midst of the late 60s, a period of brief decline and bad decisions in the 70s eventually leading him to a meteoric rise the next decade and a whole new reputation as an electric and unmissable live performer. Right up to the quiet end with one last album for the road, Cohen is truly one of the most fascinating and important performers in a century full of them. Blurring the line between poet and musician perfectly without ever straying too far into one.
Essential songs
Okay so this guy has roughly 50 songs you should hear, but I’ll put forward an essential/underrated song from every album I’ve talked about and let the music speak for itself:
Songs of Leonard Cohen: Hey that's no way to say goodbye
Songs from a room: The Partisan
Songs of Love and hate: Joan Of Arc
New skin for the old ceremony: A singer must die
Death of a ladies man: Memories
Recent songs: The Gypsy's wife
Various positions: Heart with no companion
I'm your man: Tower of songs
The future: Closing time
Ten new songs: Alexandra leaving
Dear heather: The nightingale
Old ideas: Anyhow
Popular problems: Did I ever love you?
You want it darker: Steer your way
Playlist: u/ericneedsanap has been keeping a playlist up to date of five songs from each artist that the spotlight writer picks. He'll update it with this week's picks soon.
Ok that's it for this week's Artist Spotlight! If you think there's anything more to be said or if you disagree with something, feel free to give your opinion in the comments! And if you decide to check them out based on the spotlight, make sure to check back in and say what you thought! If you want to do an artist spotlight yourself, fill out this form. And here is a list of all past and upcoming artists spotlights, in case you'd like to read more of them and so you don't try to apply to do an artist that's already taken! See you next week, when u/jackphd is going to talk about an artist that he hasn't decided yet!
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2017.09.25 17:09 ThumbForke Artist Spotlight: Cardiacs

Welcome to Artist Spotlight, where members of the sub can draw attention to some of their favourite bands, or maybe help guide you through a more daunting discography! cultofneurisis will be talking about Cardiacs.
Welcome to the land of Cardiacs
This is one of those bands that isn’t on your favorite streaming service, so this will largely be done with YouTube links — you are encouraged to click on all of the links as we go through! And with that said, this first track that I’ve linked above has the lyrics:
This is EVEN
Things are fine odd
But we all like it EVEN
This is EVEN
And I don’t think I could more aptly describe Cardiacs if I tried. But this is an artist spotlight, so here I go: Do you like theatrical chaos? Psychedelic soundscapes? In-your-face pop music? Progressive rock? I would say that all of these (and other phrases) equally describe Cardiacs, a band that went so far to even create some of their own instruments, like the Television Organ. Cardiacs themselves always just referred to themselves as a pop band. And there's a bit of truth here. (If you are a pophead, looking at you theNealCutter, please don’t be upset when this is not what you expect!) Yes, they're rooted in rock, they dove into psychedelia, and they are often turned up to 11, but it is always super catchy. And if this is hard to wrap your head around, just revert back to the EVEN description! (:
I know that I’ve mentioned a few times here that Radiohead in particular is on record citing Cardiacs as a major influence, and I would imagine that to a bunch of people who know nothing about Cardiacs but lots about Radiohead that that is attention-grabbing, so I’m letting you know near the beginning that this will be addressed! Ctrl+F Radiohead if that was the only part you cared about!
Self-proclaimed: “The most secret, unique, yet biggest cult band this England has ever seen” (and I don’t think that is far from the truth), the band’s roots were surrounded by weirdness and controversy. From the quickest of Google image searches, here is one and two pictures of the way they present themselves (sorry for the tiny sizes). The chaotic pop music of sorts that was the focus of their early career paired with clown-like make-up, dressing up ranging from wacky Halloween to standard business attire, paired with Tim and Sarah Smith making out and groping each other on stage (supposedly by first hand accounts, I wasn’t there). If the music itself and the beyond quirky attitude of the performances weren’t enough to ostracize this band from the industry and the mainstream, a publication ran a story that Tim and Sarah Smith (the ones engaging in PDA on stage) were in fact brother and sister. The weirdness of everyone involved made all outsiders to the Cardiacs culture bubble made that pill very easy to swallow — because of course if any people were going to be incestuous it would be those people. But what is remarkable is that yes, Cardiacs did manage to create their own new culture. Every album is self-financed, produced, and recorded. They were never allowed “in” to the accepted music world, but their identity touched enough people to keep them moving, whether it be total misfits or people who found the total change of everything in music and performance as they knew it to be refreshing. Oh, and Tim and Sarah Smith were not siblings, rather husband and wife (though later they did divorce).
Despite how much I believe Cardiacs and similar Tim Smith projects have developed their sound over the numerous decades their records have been released, here is some generally consistent aspects of the music across the whole time period, almost lending itself to a vague description of what Cardiacs is made of: Lots of odd metering — Tempo changes — Tons of chords — Tons of group vocals — Tons of falsetto
With that much out of the way, let’s move in to the music. A place so dense that this music should be at the top of ZiggyShoegazer’s list with how he’s brought up “headphone-core” a few times this week. The world of Cardiacs is so expansive that I’m going to limit myself to the major full lengths (please don’t tear my head off for not including Ships and Irons). I also want to make clear that every single one of these albums I’m going to talk about I am heels-over-head in love with. I’m singling out tracks to talk about, but truly every single song is on the same level as every other track, even if what I say makes that sound otherwise!
A Little Man and A House and The Whole World Window (1988)
After a string of EPs and the building up of this core fanbase and, honestly, separate world apart from everyone else, including a snail-mail based fan club that Cardiacs used to keep in touch with everyone, the time had finally arrived for the first record that can be obtained in ways other than a limited number cassette only at their shows (all other records before this one). The Seaside has since been remastered and rereleased (the record just before this one) and is absolutely worth checking out if this is an era of Cardiacs that you love. Anyway…
The best way for me describe this time of Cardiacs’ life would be with the phrase: organized cacophony. The instrumentation involves guitars, bass, drums, vocals, keys, and saxophone — but in a chaotic yet still cohesive way. Fans who have been fortunate enough to see them perform remark on how perfectly performed each song was, this wasn’t just “racket” or “noise” (not trying to throw shade at noise music, don’t kill me), this was a very defined kind of chaos. I would make a comparison here to The Dillinger Escape Plan, another band notorious for being called racket and noise with very precisely written music.
The track from this record that best defines this period of time (to me) is the track R.E.S.. Right off the bat, there are juxtaposing lines with a very simple drum beat, a sort of swing rhythm in the melodic instruments, and extra beats placed through out the verse that throw off what you might have thought was the established groove. The phrasing itself is still fairly simple, just a bit off, and is still repetitive despite its oddness. Using rhythms as a binding agent, this song explores different areas in a way that still seem connected. Later on in the track (3:02) is one of my favorite guitar solos.
Possibly my favorite song from this album is Victory Egg, which quite literally is that previous definition that I floated: organized cacophony. A simple melody is established by Tim in the vocals (I would usually refer to someone by their last name, but given that there are 3 Smiths in this band…) and over time more instruments, melodies, rhythms, a fanfare, etc. come and join in a way that still feels totally intentional before the song climaxes. This track doesn’t fully capture the sporadic nature that I believe permeates through most of Cardiacs’ earlier works which is why I started by mentioning R.E.S.
On Land and In The Sea (1989)
Here we have hit a landmark. Expanding upon the previous organized cacophony, more layers of instruments, melodies and counter-melodies, this record feels more cacophonous in its own way. This record also includes one of two songs that I most frequently see cited as “the best Cardiacs song ever”: The Everso Closely Guarded Line. An 8 minute album closer that manages to not feel too long, or even that long at all. With this record, it feels like Cardiacs have honed in their writing skills from an organized chaos to more organized chaos, but with a perfect pairing between classical forms of writing based on theme and the traditional pop forms of writing based on verse-chorus structure, and throwing in prog’s use of tons of different sections. Throughout Everso we have:
Intro - (0:00)
A (0:37) - complete with an overwhelming amount of layers in the form of tons of vocal lines in the background, as well as the hecticness of all of the rhythms
A (1:07)
B (1:33)
C (1:47)
A (1:58)
D (2:10)
Pre-chorus (2:22)
Chorus (2:56)
E (3:11)
F (3:25)
A (3:56)
A (4:09)
D (4:21)
Pre-chorus (4:32)
Chorus (5:09)
E (5:25)
F (5:39)
F (6:52)
I’ve broken it down into the more distinct bites that the piece is in, but the bold sections are fully repeated. Using that as a starting point, this song could still function looking like:
Where the bold parts of each are equivalent.
Mare’s Nest and Buds and Spawn are two other stand outs to listen to from this record that both continue on the meshing of thematic writing with pop writing. All of these use a very Cardiacs tool of strategic temporary ritardando (slowing down of the tempo, as can be heard between 4:40 and 4:50 on Everso).
I believe it is at this point (the height of the sax-involved organized cacophony era of Cardiacs) that the influence on Radiohead and, in particular, OK Computer can be best heard. A common trait of the songs is the use of tons of different chords used in the context of a sort of pop song. The most often cited song of Radiohead’s that shows off this influence is a track that recently got rereleased with the 20th anniversary edition: Polyethylene (specifically part 2). Jumping to the 50 second mark of the song, we have a catchy chord-based song where the chords are constantly changing, as well as the presence of odd meters (in the established thematic melody (thematic melodies also being something Cardiacs does often) at 0:50, we have 9/8 and 4/4 back and forth. In the chorus at 1:35 we have the phrasing 4/4, 3/4, 3/4, 4/4, before going back to that thematic melody).
Heaven Born and Ever Bright (1992)
This is the record where instead of moving towards more chaos, as the On Land had done with tons of layers, Cardiacs downsize the band into a core set of members. This has made many fans of Cardiacs dislike this record, because Sarah’s saxophone and William Drake’s keyboard (do I start using last names? Use all first names?) were considered integral parts of the Cardiacs sound, and they were now being used sparingly. But with the stripping down of the core instrumentation, what is left is a more focused sound (a rock leaning one at that) amidst the trademark organized cacophony that they have created.
Goodbye Grace and Bodysbad are two of my favorites from this record that are both used by me for when I need to get amped up for something. The core line-up has lent itself to be more hard-hitting!
The Sea Nymphs by The Sea Nymphs (1992)
Here we approach the first non-Cardiacs release of this write-up consisting of Tim Smith (mastermind behind everything on this artist spotlight, guitars, vocals), Sarah Smith (woodwinds, vocals), and William Drake (keys, vocals). Many of the staple aspects of what someone enveloped in this universe would expect are present, however if you stripped the drums away from Cardiacs and had the songs more concerned about the space and atmosphere they were creating, The Sea Nymphs is what you’d get. Female vocals also become more involved on this release.
Lily White’s Party is the absolute highlight of the record for me — sounds of nature, all-encompassing synths, and juxtaposing swaths of group vocals (and I say juxtaposing with how much layering there is compared to the stripped down nature of the track).
A more upbeat yet still amazing track from this era would be A Thousand Strokes And A Rolling Suck.
Sing to God (1997)
The other landmark record — or, more specifically, double LP. It’s going to be difficult to not make this one record the whole spotlight… This record was also on that 4chan megalist or whatever it was that Woolite123 was going through! The way that I can describe this record in the progression of Cardiacs is basically by them taking a little of everything from every era. Despite one line below saying something similar to that opinion, I’m going to cheat and drop a Wikipedia block here to adequately capture the hype this record should have for you:
Sing to God presents a unique sound that critics found hard to classify, and is seen as "a record that is scarcely comparable to anything else by anyone else." A journalist from PIEmag said the album was "more original and dynamic than ever before; they mix their classic Cardiacesque, huge orchestral harmonies with delicate pop, fast rocking and furious, at times almost Naked City-ish jazz structures. To add yet another dimension to their music, they experiment with sound and production in a way we haven't heard since the heyday of Psychic TV, or even the old 'kraut' bands like Faust, Neu!, Can etc.." Benjamin Bland of Drowned in Sound said that "somewhat approximate to the notion of Cardiacs squared, Sing to God essentially takes everything Cardiacs had always been and ramps it up to maximum." He noted that "this is a record drenched in deranged pomposity, from the massive riffs to the expansive keyboards and theatrical vocals. That's without even mentioning the bits that sound something like Sgt Pepper being performed by a Frank Zappa conducted London Symphony Orchestra on speed." Sean Kitching of The Quietus said the album is "the pinnacle of Tim Smith's studio mastery and exhibits elements of the gentler side of his Sea Nymphs project alongside the full-on helter skelter, breakneck velocity more usually associated with the band. It is also, despite the richness of its orchestration and more experimental tendencies, decidedly a pop record–one as quintessentially English sounding as Pink Floyd’s seminal Piper at the Gates of Dawn or XTC’s classic English Settlement." He also commented that the album marked the point where "Smith's ability to express the music inside his head really began to transcend any sort of identifiable genre and turned Cardiacs into something truly unique." Philip Whitehead of Sputnikmusic said "there is a wide range of styles on display here with the album spinning off in all sorts of directions at unexpected times but it's never 'too much' for the listener, with the softer tracks coming in at perfect times to provide a break after the chaos of Tim Smith let loose, and the closers on each disc do their part perfectly to end proceedings."
As evidenced by the very first song I linked at the beginning of the spotlight declaring how this is EVEN, the use of much more vocal layering on this record becomes apparent. It makes me giddy to say that this sort of vocal layering that you here on those accented words become a very regular thing now!
The first single showcases how the bass lines sound groovier than ever (and the sax later on in the instrumental section), still with the element of chaos at the front with the butting-heads layers and odd number of measures in phrases, in Bellyeye.
Insect Hoofs On Lassie shines a light on the use of dynamics, the back-and-forth at its height at 1:40 into the track (though this interplay is accentuated if you listen to the whole song!) The super layered vocals with the layers climbing up the octaves are involved, like with many of these songs, throughout! The section around 1:25 has a contradictory part of the sax playing straight eighth notes while the rest of the band is in a triplet feel — it makes me smile every time trying to tap out each instrument’s rhythm simultaneously.
Manhoo, the second single, is one of the most straight-forward catchy songs (still with all of the Cardiacs chords you’ve come to know and love) and those vocal layerings and processings throughout. Multiple iconic guitar licks used through the song like at 0:40 and 3:49. Honestly one of my favorites, if that is even possible to choose.
Earlier I had mentioned Everso being one of two songs that I most frequently see cited as “the best Cardiacs song ever” — the other one is from this record, and it is called Dirty Boy. Vocal layers that get stretched out to the point of being more layers, with the key word being stretched. On this track, Cardiacs hint at the next step in their progression by taking their time with this song. Slightly less frenetic than many other notable Cardiacs tracks, it doesn’t lose any intensity as it ramps upwards chromatically or through the amount of stuff going on. 5:52 hints at the outro with the first super-elongated vocal line.
Not only is there a track looking toward the future sounds of Cardiacs, there is a track that serves as a blast from the past. Nurses Whispering Verses was a track off of The Seaside, that album that I said came before the first record I discussed here! The frenzy of the very early sound of Cardiacs clashing with the drawn out hinting of the future sounds makes it so that so many ideas are present on one album.
Because of how many ideas are condensed into one record, it really does become hard to talk about because it is doing so much in so many different directions. I took the approach of pointing out some of the various directions it went in, but I’m not sure how much that accomplishes. Also, having so many ideas be so fully formed across a double length record, this album can probably be hard to digest. I personally (despite having previously always listened to double albums all the way through) listened to CD1 over and over and over again until I was ready to move on, as if CD2 was an entirely separate moment of their career. The connecting features (like the vocals, the transitions, and overall attitude/mood of Sing to God) are apparent after having gone through it all and I listen to it all as one now, but I wouldn’t be afraid to take it slowly!
Guns (1999)
This is tied for my favorite record of the ones I’m covering in this spotlight! The record’s opening track, Spell With A Shell does a perfect job at explaining the direction Cardiacs are now moving in: plodding along throughout the track with minor changes like at 0:52 for sort-of climaxes within the same territory that function the same way that minimalism composers use minor changes to show the emotional depth within that area of music. The pulsing synth of this track helps lend itself to how the psychedelic side of Cardiacs are really being pushed to the front of this record, allowing you to space out — but in a totally different way than The Sea Nymphs record! Female vocals peeking their way through in the background too!
Wind And Rains Is Cold is another of my favorites (yet refer back to where I said you can’t trust this to mean over the others!) — Still working with a steady tempo as the song resides in the same few sections, this time as a back and forth duet between Tim and Sarah — and I’m in love with having both male and female vocals on anything…
The keys parts on Jitterbug (Junior Is A) are just as hectic as ever, but not in the in-your-face way of the past. The psychedelic qualities that I mentioned earlier are driving the chaos now, allowing for a more overwhelming experience to be embraced as opposed to a my-head-is-exploding-in-a-good-way experience! Just like with Dirty Boy, Jitterbug hints at its outro at 2:18! You might be thinking, “Cult, are you sure the track was hinting at its outro at 2:18 when the song is 7 and a half minutes long?” — the answer is yes, because the outro is more than 2/3 of the song! As a result, I believe it is one of the more polarizing tracks of their career, but all who like it (like me) are in love with it. Definitely full speed ahead into the psychedelic area (but keep in mind when I say psychedelic, I don’t mean the world’s definition of it, I mean their definition of it).
Pony by Spratleys Japs (2001)
Our next non-Cardiacs release is the other album tied for my favorite. This project is a duo between Tim Smith and Joanne Spratley. Despite not being a double length record, I feel this album similarly condenses many ideas into one package the way Sing to God does, so wish me luck on not staying here too long.
The best way for me to describe Spratleys Japs would be to call the genre that they are playing “post-Cardiacs” where “post” here is a modifier that means “a more drawn out version”, y’know, sort of like rock—>post-rock, metal—>post-metal, hardcore—>post-hardcore — is this analogy falling apart? Whatever, as long as you understand where I’m coming from…
Unlike The Sea Nymphs, Spratleys Japs still has prominent drums! Fanny is Cardiacs continuing the journey where they left off in Guns: plodding along even more and even slower, building to even bigger yet perhaps more minute climaxes, and just as engrossing in a “Cardiacs psychedelic” way! (The closer, Don’t You Ail, Flash The Sea To Steam also fits this description!)
Vine feels like a half-and-half between Cardiacs and “post-Cardiacs”/Spratleys Japs, all of the upbeat catchiness (and female vocals and vocal layering continuing from StG and Guns), but then the second half feels like a “post-Cardiacs” outro.
This time, we’ll splice together Spratleys Japs and The Sea Nymphs for the track Fear. I hilariously see this song almost as an analogue to Neutral Milk Hotel’s Communist Daughter. Stripped down song where the first half is led by vocals and the second half is led by a horn. You have permission to yell at me for this statement.
The three shining moments of this record that define this sound of “post-Cardiacs” or just “Spratleys Japs” are on Oh, Cabinet, and Pony. Longer and even slower tracks, a distinct focus on dynamics and the way a song changes in small amounts over time and manages to bring you somewhere else (like with minimalism), yet still retaining the awesome amount of chords, the sing-it-yourself-even-if-it’s-instrumental catchiness, and the dense layering and instrumentation. Both Oh and Cabinet continue upon their previous tracks in ways that tie the album together through arrangement. In those two longer tracks: Oh spends more of its time honed in on dynamics, whereas Cabinet is more of straight psychedelic drone. In fact, Oh’s accentuated sense of dynamics is so perfectly done that I don’t think the YouTube version can possible do it justice (not that a YouTube version of any of this stuff with how dense all of the music is will be optimal). But driving at night with Oh blasted because the beginning is so quite and so mood-inducing brings about quite a splash when the song explodes!
Tim Smith has a heart attack, a stroke, and then another stroke (2008)
…history ceased to be created by Cardiacs. Unless we consider the undignified shenanigans of Tim Smith who ‘fell’ into a pool filled with shit and is still crawling and scratching his way out of it. The ALPHABET BUSINESS CONCERN wishes it to be known that, whilst maintaining complete control of his artistic output, they disassociate themselves ENTIRELY with his recent illness and, in fact, fail to recognise it as an excuse for not fulfilling his duties.
Cardiacs will always be here. As for me, I'm still fighting them critters who are trying their best to stop me. But they are losing.
Multiple tribute CDs were created by the friends of Cardiacs covering Cardiacs, The Sea Nymphs, and Spratleys Japs songs with all proceeds going towards Tim Smith’s recovery. Multiple benefit festivals have been put on with all proceeds going towards Tim Smith’s recovery.
On The Dry Land by The Sea Nymphs (2016)
Almost a decade later, and 15 years since the last full length release of a Tim Smith project, the first post-stroke release has been brought out. It is almost entirely made up of sessions from the time of the first The Sea Nymphs record, which I imagine is what let itself be the first to be released. Producing is likely a much smaller step to accomplish than playing guitar or singing, both of which might not happen for a long time.
Big River offers what, to me, is an emotional song just from being so stripped down a song around Tim Smith after what had happened. Singer-songwriter-y except for the bare instrumentation that eventually flows over the track.
Cut Yourself Kidding, the second longest track on the album, feels very Cardiacs in nature with the chords, vocal melodies going all over the place, falsettos — yet still very The Sea Nymphs due to the lack of drums and a non-psychedelic focus on space.
A fun throwback to the earlier record while also confirming that these tracks are from the original sessions is The Black Blooded Clam, which utilizes the opening bit from The Spirit Stout of the first record as the backbone to the track!
Wrap Up
What this band has accomplished musically resonates with me so viscerally that it really is difficult for me to describe. I wanted to do this spotlight because it seemed that too many people here had no idea who this band is, but I find myself either not being able to articulate the way these things make me feel, or become repetitive in my quest to describe it objectively, or tap out for help with the Wikipedia throw in. Hopefully this wasn’t so awful, but all that really matters is listening to the band, not reading this write-up! (:
If you have the time, I would recommend starting with either On Land and In The Sea for the earlier era of Cardiacs or Sing to God for the later era.
If I had to boil this down to a 5 track playlist (despite this not being on Spotify) I would probably go with…
The Everso Closely Guarded Line
Lily White’s Party
Wind And Rains Is Cold
Dirty Boy
Too many ideas to cover, I’m not backing down from 6. :X I chose this order specifically too, but it would really serve you better to listen to a full record and branch out from there if you like what you hear!
This only scratches the surface of the sphere of Cardiacs. There are other Cardiacs releases worth listening to as well as all of the side projects of the people not named Tim Smith. On top of all of that, I personally have not listened to many major acts coming out of the UK, including notable acts XTC and Gentle Giant, so you guys here at /ListeningHeads might even be able to articulate things about this context better than I can! You are encouraged to leave your thoughts! (:
Playlist: u/ericneedsanap has been keeping a playlist up to date of five songs from each artist that the spotlight writer picks. He'll update it with this week's picks soon.
Ok that's it for this week's Artist Spotlight! If you think there's anything more to be said or if you disagree with something, feel free to give your opinion in the comments! And if you decide to check them out based on the spotlight, make sure to check back in and say what you thought! If you want to do an artist spotlight yourself, fill out this form. And here is a list of all past and upcoming artists spotlights, in case you'd like to read more of them and so you don't try to apply to do an artist that's already taken! See you next week, when u/remjensen is going to talk about Radiohead!
submitted by ThumbForke to ListeningHeads [link] [comments]

2017.09.14 13:56 ThumbForke Artist Spotlight: Danielson Famile

Welcome to Artist Spotlight, where members of the sub can draw attention to some of their favourite bands, or maybe help guide you through a more daunting discography! Yoooooouuuuuuuu will be talking about Danielson Famile.
Sidenote: Sorry about the interruptions to this series that there have been recently. There were just a few people in a row who pulled out for one reason or another, but I'm going to make sure it doesn't happen again. Now, on with the Spotlight!


Growing up in New Jersey, I had no desire to go to Rutgers University. It’s the state’s university in that it’s the banner public school, but like New Jersey itself, manages to be anywhere from mediocre to bad at most of what it does while still costing a lot of money. Luckily, Daniel Smith did decide to leave his home in Clarksboro and go to the school that our state holds up with some amount of pride, because it launched a music career of spectacle and sacrifice. In 1993, Smith submitted his thesis, an album that he recorded with friends and family that would later become A Prayer For Every Hour. He called the group Danielson Famile, since the vast majority of the collaborators were his brothers and sisters. He got an A on the project, which helped ignite a passion of making Christian music that no one would ever want to play on the radio. A Prayer got picked up by indie record Tooth & Nail, and Daniel found himself to be an unexpected recording artist.
He and the Famile started playing shows at bars and other unlikely venues, typically dressed in doctor and nurse uniforms, which represented the healing they found in God and in their music. They continued to release music throughout the late 90’s and early 2000’s, and even had a documentary made about the project, before finding unexpected success in their 2006 album Ships where the tastemakers at Pitchfork gave them a 9.1 rating and put the album in the top 50 of it helped that Ships and other albums saw Daniel collaborating with some up-and-coming artist named Sufjan Stevens. From the mid-00’s and on, it's been mostly Daniel focusing on the music, but the Famile still performs and is still weird as all get out.


Instead of going through an extensive discography, there are three main albums I'm going to focus on that really capture the strongest aspects of Danielson Famile. Their albums in between all have great moments, and the best introduction to them is through their music videos for Rubbernecker and Did I Step On Your Trumpet. These videos give you an idea of how odd, creepy, and yet endearing their aesthetic can be. However, these three albums are the best condensed efforts from Daniel and his companions.
Early in Smith’s career, while he himself did not necessarily partake in the burgeoning neo-freak folk movement, his music was certainly related to the genre. Droning and jittery acoustic guitars, awkward vocals, and overall music that carried a tribal feel were prevalent, and these elements came to fruition the most on the group’s sophomore album, Tell Another Joke At The Ol’ Chopping Block. Daniel’s voice is wild and free, slipping into and out of falsetto at random. The whole album feels spontaneous, but there's clear orchestration throughout to make it obvious that these songs are not improv. Lyrically this is one of the more simpler works of the group, but there's still plenty there, tho it's not as much my favorite aspect. It's a top 5 freak folk album on RYM, among the likes of Exuma and Animal Collective. There's some great instrumental flourishes throughout, such as small amounts of synthesizer in Deviled Egg, that serves as a preview of what's to come. The 12 minute finale, Jokin’ At The Block, is fantastic, and showcases what Daniel can organize when he keeps things in order (the Sufjan comparisons are apt).
Fetch the Compass Kids serves as a good transition album between Danielson’s earlier work and later work. Many of the elements from Tell Another Joke are still there, but this time there's a clearer focus on pop structures, melody, and more varied instrumentation. Lyrically it's better, and funnier, seeing as the first song is called We Don't Say Shutup you should get an idea of what I'm talking about.
Ships is where the jump to full art/chamber pop occurred, which probably makes it the most accessible of the three. If you're a fan of The Fiery Furnaces, Of Montreal, or any of the more whimsical art pop acts then Ships is definitely the first album you should check out. The aforementioned Did I Step On Your Trumpet is a highlight, but there's so much going on and it's all so dense that the album warrants some paying attention to. From there you can check out the surrounding albums for similar sound, but more hit-and-miss songwriting. For example, whileTri-Danielson Alpha has a lot of songs that fall flat, it also has Rubbernecker and Pottymouth, the latter being the art pop equivalent of a rap skit in the most fantastic way possible. Of course, through all of this, there's the very interesting aspect of Christianity that comes into play. Obviously there's not many Christian artists that make interesting music (the only other ones I can name are shoegaze act Starflyer 59 and,well, Sufjan). Between lyrical anecdotes, storytelling, and emotional vocals, Daniel manages to do something that often lacks in Christian music, which is making it sound more vulnerable and human, which allows a non-Christian audience to connect with his situations and challenges. When he makes the lyrics preachy, it's in such a funny way that it doesn't feel like you're being preached at.
Daniel Smith and his cohorts make some very interesting music filled with twists and turns. They have a long discography to show for it. These three highlights will hopefully give you a place to start with an amazing songwriter, artist, and person!
Playlist: u/ericneedsanap has been keeping a playlist up to date of five songs from each artist that the spotlight writer picks. He'll update it with this week's picks soon.
Ok that's it for this week's Artist Spotlight! If you think there's anything more to be said or if you disagree with something, feel free to give your opinion in the comments! And if you decide to check them out based on the spotlight, make sure to check back in and say what you thought! If you want to do an artist spotlight yourself, fill out this form. And here is a list of all past and upcoming artists spotlights, in case you'd like to read more of them and so you don't try to apply to do an artist that's already taken! See you next week, when u/c0ns3rvative is going to talk about Madonna!
submitted by ThumbForke to ListeningHeads [link] [comments]

2016.10.06 20:45 chronus13 /r/WiiU Modpost October 2016

Ahoy gang, chronus13 here.
Welcome once again to another /WiiU modpost, where we will talk about the subreddit in general and about future plans and other Wii U happenings.

Weekly Threads and our goals

Our team has been discussing the community involvement regarding the various weekly threads (Recommendations, Kickstarter talk, and Game Days) we've been generating. Many of these threads receive positive acknowledgement (upvotes) from the community however, participation remains rather low.
We would still like to hear from all of you about what you would like to see from these threads that might stimulate your own participation in them. We know the life cycle of the Wii U has been well underway however we would like to keep those of you that are subscribed to /WiiU as engaged as often as possible but we feel more feedback would be welcomed to make /WiiU's weekly threads more interesting to each of you. Don't be shy and please let us know down in the comment section.

In case you missed it!

[email protected]/WiiU still rolling on!

Our official /WiiU Twitter has been getting news out there but also creating a bond with various indie developers through our growing AMA program, which we've dubbed [email protected]/WiiU.
Since our last Modpost, in September, we had four sets of guests featured in Nintendo's #Nindies Summer Jam lineup:
  • Thomas Happ Games' Thomas Happ, sole developer of the widely acclaimed metroidvania-styled game, Axiom Verge, and gaming industry giant, Dan Adleman took a few hours of their exceptionally busy schedule to come by for an AMA with us to talk about the various challenges behind Axiom Verge, including Nintendo's denial of a Samus cameo, among other things.
  • William Dubé and Rodrigue Duperron, from Thunder Lotus Games, stormed on in for an AMA to talk about their beautifully hand-drawn action exploration game set in Norse mythology, Jotun: Valhalla Edition,
  • Joakim Sandberg a.k.a. konjak, developer of the recently released Noitu Love: Devolution along with his publisher, Mathias Kærlev of MP2 Games visited for an AMA to discuss their creation/Wii U port of the classic fast-paced arcade-like game.
  • DrinkBox Studios team members Graham Smith (Co-foundeProduction), Chris McQuinn (Design/PR), David Rusak (Design/Production) chatted with us in their AMA about the long awaited Wii U (soon-to-be available on the 3DS with crossbuy!) port of Severed, the nightmarish action adventure RPG that utilizes swipe-based touch controls.
Upcoming AMAs:
  • Monday, October 10 @ 5PM Jason and Nicole Stark, the folks at Disparity Games, will be joining us for an AMA centered around their long awaited kickstarter project, Ninja Pizza Girl, which is now available on the NA eShop.
Coming Soon
  • We're currently in talks with SteamWorld Heist's developers, Image & Form will update the sidebar as soon as we confirm a time and date for their AMA.
  • We will also continue to reach out to more of the developers featured the previous Nindies Summer Jam lineup, allowing our community and the wonderfully creative folks behind all the great independent games we've come to know and love to build a personal connection via future AMA events. As always, be sure to keep an eye out for what else we will have in store this month by checking out the sidebar!
P.S. Only upvoting during an AMA is NOT as exciting as questions to the developers. Remember AMA = Ask Me Anything and they would love to hear what you want to know about them and their games.
Don't forget to check out our Developer AMA Archive!
More resources are placed into reaching out to various other developers, so expect more to come!
If you're a developer and would like to host an AMA, then please contact us through a mod message or our Twitter and we'll happily assist you!

Game Days

Game Days continue rolling along! Gaming events will be posted on the sidebar and in the announcement section below the banner when they are coming up. All times are in Eastern Time!
For those unaware, game days used to be a day (mostly weekends) where we select a multiplayer game to play together. Users were also able to use our CyTube to chat/listen/watch videos together.
Last month we had a huge focus on Super Smash Bros. for the Wii U with 4 weeks of tournaments, along with prizes that were given out at each event. We'd like to thank everyone that turned out for those tournaments. We hope everyone had a good time.
This month's Game Day schedule is as follows:
  • Runbow: October 8 between 3PM - 7PM
  • Mario Kart 8 tournament: October 15 between 3PM - 6PM
  • Super Smash Bros. "Random" Tourney: October 22 (Runtime TBD)
  • Super Mario Maker "Spooky course builds" weekend: October 29 -31 (3 days)

Don't forget Discord!

Did you know /WiiU has its own Discord Server?
Now what is Discord you may ask? Well, it's a program where you can both text chat and voice chat with others. For free.
The program can be used in your browser directly or installed to your computer and phone. Discord is compatible with Chrome, Firefox and Opera if you do not wish to download the program. It is also compatible with Windows and OSX if you want to install the app. Discord is also compatible with Android and iPhones if you wish to bring Discord on the go.
Our Discord room has a main text chat room where you are free to chat and a main voice chat room. We then have several other voice chat rooms categorized for different games. Remember to stay nice to each other and do report any users who do not follow our guidelines in /WiiU. You can do so by sending us a mod mail. Proof will be highly appreciated.
We plan to use Discord in our future game nights and events. You can also find a link to our Discord in the sidebar under "External Links".

/WiiU's Wiki Resources + Weekly Question Thread

We see a lot of questions in our sub where most of them could be easily solved by having a look into our wiki or by using the search function.
Our wiki includes:

We suggest you contact Nintendo's Support for any bigger issues with your hardware/software at:

  • 1-800-255-3700 (US)
  • +44 (0)345 60 50 247 (Europe)
  • +61 3 9730 9900 (Australia)
  • +81-75-662-9600 (Japan)
Just another reminder, the Weekly Question Thread goes up every Monday.
Rather than give them a one-off "lrn2read sidebar nub", just kindly direct them to our WIKI or Question Thread, send in a report labelled "Question Thread", and we'll handle it from there. You can always click the "hide" button under each thread once you've reported it to us. Useful for those who do not wish to see questions. Sadly, it's a very common occurrence where people seem to not realize the vast amount of resources we have available, but we need to do the best we can in ensuring that we don't present a barrier to their experience.
As for newcomers that may be here now, please familiarize yourself with our subreddit guidelines, as well as the WIKI and search function for any help that you may need. Also, don't be shy to participate in various threads.
Needless to say, I'm counting on the veterans and newcomers alike to actually commune with each other.


That's all I have for you this time around.
If you have any questions or concerns, then please leave some comments down below and the modteam will swoop down and answer it to the best of our ability.
Be excellent to each other, and take care!
submitted by chronus13 to wiiu [link] [comments]

2016.04.19 02:11 emre23 Pre-Match Thread: Liverpool vs Everton

Premier League: Matchday 27 (rearranged)
Date: Wednesday 20th April 2016
Kick-Off: 20:00 BST/15:00 EDT/12:00 PDT
Referee: Bobby Madley
League Form
Home League Form
Pre-match press conference
Team News
  • Divock Origi is expected to be fit
  • Kolo Touré, Martin Škrtel & Christian Benteke are all injury doubts
  • Joe Gomez, Jordan Henderson, Emre Can & Danny Ings are all ruled out through injury
  • Daniel Sturridge's next Liverpool goal will be his 50th for the club
Confirmed Selection:
Clyne Lovren Sakho Moreno
Lallana Milner Lucas Coutinho
Origi Firmino
Ward, Touré, Smith, Stewart, Allen, Ibe, Sturridge
League Form
Away League Form
Team News
  • James McCarthy is available again following suspension
  • Leighton Baines, Tom Cleverley & Aaron Lennon are all injury doubts
  • Seamus Coleman, Tyias Browning, Phil Jagielka & Brendan Galloway are all ruled out through injury
Confirmed Selection:
Oviedo Stones FunesMori Baines
McCarthy Barry
Lennon Barkley Mirallas
Howard, Bešić, Cleverley, Osman, Pienaar, Deulofeu, Niasse
Last 5 Meetings
  • Everton 3-3 Liverpool (Mirallas 8’, Lukaku 72’, 82’; Coutinho 5’, Suárez 19’, Sturridge 89’)
  • Liverpool 4-0 Everton (Gerrard 21,’ Sturridge 33’, 35’, Suárez 50’)
  • Liverpool 1-1 Everton (Gerrard 65’; Jagielka 90+1’)
  • Everton 0-0 Liverpool
  • Everton 1-1 Liverpool (Lukaku 45’; Ings 41’)
submitted by emre23 to LiverpoolFC [link] [comments]

2016.04.15 03:20 pmcinern [Better Know a Movement] Film Noir, Week Something: Mexico. Brilliance in Darkness.

Flaunting an American femme fatale. Flaunting a Mexican one.

(Ironically, Ninon Sevilla was Cuban. And Rita Hayworth was Spanish-American. But you get the point)
Title Director Synopsis Date/Time of Screening (est)
Crepúsculo (Twilight, 1945) Julio Bracho A brilliant surgeon is dazed and feels he can no longer operate. Told in flashback, we find his troubles began with a woman. Sat, Apr 16 @3/9pm
Victimas del pecado (Victims of Sin, 1951) Emilio Fernández In México City, a Cuban dancer from "Cabaret Changó" rescues a baby from a garbage can and decides to raise him, but her pachuco pimp gets in her way. Sun, Apr 17 @ 3/9pm

Screening Notes:

There’s no way to introduce even just Mexican noir with only two movies. So, we’ll forego diversity (for now) to highlight quality. Hopefully, that will generate some interest in this virtually untalked-about treasure trove. We’ll see visual despair lower than anything the states would have been allowed to produce, and thematic hopefulness, something the states (at the time) would not have wanted to produce. Mexican noir is a whole new ball game. Crepusculo offers world class photography and performances, and a nuanced political and moral stance not usually found in studio flicks, no matter the country. Victimas offers a combination of the two kinds of women portrayed in Mexico during its Golden Age, the asexual mother and the whore. Here, Sevilla plays a hypersexualized mother, as well as an asexual whore, all at the same time. The Mexican view of women during this period is a very strange mix that I’m still wrapping my head around, but it’s certainly nowhere close to what the U.S. was portraying. I highly recommend both of these movies as great noir, great Mexican movies, and great movies in general. These are top tier flicks, and instant favorites of mine.
A ton of the literature on Mexican cinema dismisses their pre-1960’s canon as soulless Hollywood imitators, half a century relegated to the “Introduction” sections of text books as if to get this uninteresting chunk of Mexican movie history out of the way so we can finally get to the real auteurs: well, blow me. I wanted to do a section on Latin American noir in general, but there’s just too much to talk about. Mexico alone has so many world class noirs, I decided to just stick with this one country as an introduction. Yeah, they definitely modeled their industry from top to bottom after Hollywood, but they made the noir mentality so personal, and in some ways better than the North American expression! We’ve looked at German Expressionism and French Poetic realism as they relate to movies from another country that hadn’t even been released yet, which can be a bit unfair to everyone involved. So this time, let’s discard the American-indigenous concept of noir (especially since Mexico was prefiguring classical American noir by a decade, just like France and the U.S. itself had done) and instead center the concept around Mexico, and see where the U.S. does and doesn’t line up with it. We could do the same for Japanese noir, German, other Latin American countries, French, Scandinavian… just about anywhere.
Mexican movies found the noir mentality most at home in the cabareteras subgenre of the rumberas, movies that were kind of musicals, but mostly melodramas centered around prostitute/dancers. You see a dance floor, you’re really seeing a brothel. Already, we’re in a completely different world. Mexicans thought of “melodrama” the way people in the U.S. do today, as opposed to how it was used from the silent era until the 40’s-50’s. We thought of a melodrama back then as something like a masculine-oriented drama, something that predates the action movie. No explosions or fight scenes, but certainly fights, fires, chasing… action with a lower-case “a.” These rumberas and cabareteras poked their heads in during the 30’s, just after Eisenstein helped usher in an artistic bent to the Mexican film industry. The going rate was for women to be either mothers or whore villains, and they played on the Mexican comedias rancheras concept, a loose equivalent to the American Western. “Comedias” = melodrama, not “comedy.” These rancheras featured rural settings, popular folk songs, and were set during pre-revolutionary times.
By the mid-late 40’s, Mexico was rebuilding its infrastructure, and borrowing from Italian neorealism in their movies to portray it. A ton of these cabareteras showed off the modern Mexican cityscape, now complete with immoral nightclubs and illegal activities. Wet cobblestone streets surrounded by who-knows-how-old buildings with sleazy neon lights freshly bolted on in a failing attempt to update the city’s soul. Instead of seeing grizzled veterans coping with a now-foreign homeland, we see women struggling to break out of their traditional roles by using them for personal gain. One example, Salon Mexico, features a prosti - ah, dancer - who sells her vagi - that is, dances - to support her sister’s education. She gets the shit beat out of her by her pimps, fired, imprisoned, and finally, meets her demise. But she was always struggling to do the right thing, to rise up in the face of a new world playing by the old rules. Femme fatales are plentiful, too, but they’re usually the main character fighting against the machismo ideals (think Brienne of Tarth spliced with Rita Hayworth, if Henry Armstrong was her short tempered pimp). A refreshing counterweight to the American Protestant (and Jewish) fear of women being people, too.
If we were to make a ven diagram of Mexican and American noir, we’d see some (not so?) surprising overlaps and gaps. Mexicans had little need for a detective. They had little attraction to national paranoia. They had a fundamental emphasis on the femme fatale though. So fundamental, in fact, that she was the protagonist, and it was womanhood, not manhood, that was most commonly and thoroughly explored. There was also a huge connection to horror. I’ll be digging deeper into classic Mexican horror, but the parallels are blatant right off the bat (and we’ll be showing their version of Dracula, arguably better than the Lugosi rendition, at some later date), which seem to have a knack for expressionist lighting. In fact, one of the earliest Mexican talkies was an expressionist riff called Dos Monjes, a “different perspective” story that reeks of Rashomon, which would come out almost twenty years later. They were in on the ground the floor all along. But nah, let’s keep thinking Mexico never did anything cool until Bunuel flew in.
As opposed to Argentina, who I’d say ironically modeled their noirs more faithfully after the U.S. despite its strained relationship with them (fascism works in mysterious ways), Mexico had more of a knack for blending the neorealist sentiment with the studio execution: the cityscape was a nightmare, the acting style was bold, bold, bold, and the soundtracks seemed straight out of a symphony in Valhalla. Specific tropes, like the doppleganger, were strangely rehashed and put at the fore (as in La Otra, a very cool straight melodrama). New influences, like Bunuel in the 50’s, sparked a more political fire in the new wave of Mexican directors, and by the 60’s, seemingly every fucking guy in Central and South America with a camera had their own “revolutionary” philosophy on cinema. But the Epoca de oro from the 30’s to the 50’s was, despite/because of their own financial constraints and exploitation, just as personal and exciting a cinema as Hollywood was, or Bollywood is, or Hong Kong was/is. They created and owned an entire World of Noir.

Essential Movies:

Crepusculo, Aventurera, En la palma de tu mano, La otra, Distinto amanecer, La noche avanza, La mujer del puerto, Sensualidad, Salon Mexico

Key Figures:

Keep in mind, this list would be the equivalent of showing someone a list of some great Japanese filmmakers and actors for the first time. These are all huge names of vast talent that simply don’t have global name recognition yet, so dive in head-first, wherever. Personally, I found the cabareteras an easier segue than the straight melodramas, not because of how similar they are to American classical noir, but because of how viscerally thrilling they are. They are not only easy to enjoy, but at their best, are also daunting, challenging morality pieces and gender explorations. Classic melodramas like Crepusculo are fantastic as well, some of my all time favorites. If you’re unfamiliar with the soap operaesque over-the-top Mexican acting style, it may be a little much at first, but only takes a minute or two to get used to. I started Crepusculo a little confused, and left it drooling.
submitted by pmcinern to TrueFilm [link] [comments]

2016.04.03 22:09 anirvan 5 amazing summer social justice trainings for ABCDesis

If you're Desi and care about things like gender justice, racial justice, climate justice, etc. — you're not alone!
Apply to any one of these 5 amazing trainings/retreats/internships to up your game, find peers, and connect more deeply with progressive ABCDesi communities.
I'm a trainer with BASS, and participants often tell us that it's a life-changing experience, which helped them find friends and mentors, learn their history, and most importantly—become much stronger activists and organizers. I wish I had access to programs like this when I was growing up.
Are you an alum and have stories to share? Have questions about any of these programs? Wondering how they work, or why anyone would want to attend? Leave a comment below!

Bay Area Solidarity Summer (BASS)

  • Location: Oakland, California (Bay Area / West Coast focus)
  • Age range: 18-23
  • Date: August 11-15, 2015
  • Application deadline: April 30
  • Cost: $50, includes 5 days of food/housing, need-based scholarships available
  • Established: 2011
  • Run by: BASS collective
  • Website: http://www.solidaritysummer.org/
  • Social media: Facebook, Tumblr

East Coast Solidarity Summer (ECSS, formerly DC Desi Summer)

Chicago Desi Youth Rising (CDYR)

SAALT Young Leaders Institute (YLI)

DRUM YouthPower! Summer Youth Internship Program

  • Location: New York City, New York
  • Age range: 14-21
  • Date: July 8 to August 19, 2016
  • Application deadline: not listed
  • Cost: Free, participants receive a stipend upon successful completion
  • Established: ~2001
  • Run by: DRUM
  • Website: http://www.drumnyc.org/ypsumme
  • Social media: Facebook, Twitter, Instagram
submitted by anirvan to ABCDesis [link] [comments]

2015.05.06 22:54 anirvan 4 amazing summer social justice trainings for ABCDesis

There are four five amazing trainings/retreats this summer for South Asians with an interest in social justice, progressive issues, etc.
If you're Desi and care about things like gender justice, racial justice, climate justice, etc. — you're not alone! Applying to any one of these programs will help you up your game, find peers, and connect more deeply with progressive ABCDesi communities.
I'm a trainer with BASS, and participants often tell us that it's a life-changing experience, which helped them find peers and mentors, learn their history, and most importantly—become much stronger activists and organizers. I wish I had access to programs like this when I was growing up.
Are you an alumni and have stories to share? Have questions about any of these programs? Wondering why anyone would want to attend? Leave a comment below!

Bay Area Solidarity Summer (BASS)

  • Established: 2011
  • Age range: 18-23
  • Date: August 13-17, 2015
  • Special focus: Black-Brown solidarities
  • Location: Oakland, California (Bay Area/West Coast focus)
  • Cost: $50, includes 5 days of food/housing, need-based scholarships available
  • Run by: BASS collective
  • Website: http://www.solidaritysummer.org/
  • Application deadline: April 30, but applications may still be accepted (tell them "ABCDesis sent you")
  • Social media: Facebook, Tumblr

East Coast Solidarity Summer (ECSS, formerly known as DC Desi Summer)

  • Established: 2009
  • Age range: 15-21
  • Date: July 24-26, 2015
  • Location: Rutgers University, New Jersey (East Coast focus)
  • Cost: $0-$20 donation
  • Website: http://bit.ly/ecss2015
  • Social media: Facebook, Twitter

Chicago Desi Youth Rising (CDYR)

SAALT Young Leaders Institute (YLI)

  • Established: 2012
  • Age range: 18-22
  • Date: July 24-26, 2015
  • Special focus: addressing and confronting anti-Black racism
  • Location: Washington, DC (seeking applicants from anywhere in the US)
  • Cost: Free, includes major transportation, food, housing
  • Application deadline: May 31
  • Run by: SAALT
  • Website: http://saalt.org/programs/young-leaders-institute/
  • Social media: Facebook, Twitter

DRUM YouthPower! Summer Youth Internship Program (thanks to Klupa for the tip!)

submitted by anirvan to ABCDesis [link] [comments]

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  1. Latina female talks about dating black men and the problems that come with it
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  4. How to Date When You're Over 50 (Dating Tips & Where to ...
  5. Dating Advice: What Do Men Want? - Over 50 Edition
  6. Key Points About Dating Men Over 40 (or 50) - YouTube
  7. Stop online dating!
  8. 6 Rules for Dating Over 50 Engaged at Any Age - Coach ...
  9. How to Find Love After 60 - Senior Dating Tips from a ...
  10. Dating Advice for Men, Especially Men Over 50

As a matchmaker to so many clients who are over 50 and dating for the first time in a long time I find myself fielding questions that are so intriguing to me. And if one person is thinking about ... Dating tips-After the first date - Duration: 4:18. lookbetteronline ... 50. The5starfilmers Recommended for you. 17:50. Exposing ROBLOX Online Dater *You wont believe what happened* ROBLOX ... 6 Rules for Dating Over 50 Engaged at Any Age - Coach Jaki - Duration: 13:01. Engaged at Any Age 437,207 views. 13:01. Latino female keeps it real about dating issues when it comes to blacks and Latinos. ... (7-18-16) - Duration: 50:18. Breakfast Club Power 105.1 FM Recommended for you. 50:18. In this video, I discuss 6 rules that you should follow when dating over the age of 50. 01:29:16 - #1 Don't Bond Over Your Baggage 03:18:09 - #2 DOn't Call H... Free Crash Course To Get Your Ex Back Permanently: 3 Expert Secrets To Shift The Balance Of Power In Your favor ↓↓↓ CLICK HERE ↓↓↓ https://www.love.withmyexa... In this story Time with Devone I talk about when I dated a ghetto girl. Be sure to just watch the other story times with Devone in the playlist here - https:... How to Date When You're Over 50 (Dating Tips & Where to Meet Women) Improve your chances in finding, attracting & keeping a good woman no matter what age you... How to Find Love After 60 - Senior Dating Tips from a Professional Coach Finding love after 60 isn't easy... but, it IS POSSIBLE! This is the simple message ... What do we need to know when dating men over 40 or 50....? I have sadly disabled comments to this video. I don't have time to monitor the crazies.... Please ...