Koc for chrome
/r/Chrome
2008.09.02 01:15 /r/Chrome
Welcome to Chrome - an independent, community-run forum for everything to do with the Chrome browser!
2009.07.08 18:25 linux4noobsmod ChromeOS
The largest independent, community-run forum for discussions related to Chromebooks and everything else ChromeOS.
2009.10.05 00:16 SoftwareMaven Product Management
Product Management
2022.10.04 01:12 Cordath OPINION: What I've learned (insert clickbait title here)
I've been doing voice acting for just over four years now and wanted to share a perspective that I've developed recently that I would have found immensely helpful to have back when I started.
Obviously, this is based entirely on my own worldview and personal experience (and will probably be controversial to some), so take it or leave it as you wish. This is just where I'm at currently and I'm sure my views will develop further as time goes on.
The mentality that I had when I started voice acting was that I needed to book the job. That's the whole point. You get the coaching so you can get the demo, so you can get the audition, and then book the job.
Several months ago I had an epiphany (in no small part due to the out-of-this-world perspectives of Elley Ray Hennessy). I now feel that I've been going about things completely wrong this entire time, and it had driven me into the ground.
Let me elaborate.
If you've been in this industry for any length of time, you know that one of the things that is taught regularly is that you have to get coaching before doing anything else. How people go about getting the coaching is up to them, but the majority aren't going to get it all from one source. However, there is one thing that almost all of these coaching methods have in common: they teach that there is a "right" and a "wrong" way to go about doing things.
Some examples may be that it's wrong to brush over the brand name, it's wrong to inflect down at the start of a list, or it's wrong to skip over periods, etc.
The issue here is that, as I've come to see things, "wrong" is a matter of perspective in this work. Yes, there are certain things that are wrong without question (ignoring file labeling instructions comes to mind) but when it comes to the artistic side of this work, wrong is a matter of perspective.
I have a couple of agents I'm working with right now. Shortly after getting the first one, I had a call with them just to introduce myself and to learn more about their work process.
One of the things they commented on was my slates. For every one of the sample scripts they sent my way, I had done some variation on slating my name. On one I'd chosen a very melodramatic tone and said "(off mic) ugh this is so lame! (on mic) It's *name*. (off mic again) that's it? I can go now? Great." Each slate showed my ability to do something that wasn't in the script. The agent said that they thought my slates were clever, showed my range, and they made them pay more attention to my reads. "They woke me up".
For my third agent, I got a call from them, and immediately after saying hi and confirming that I was the voice talent that they wanted to speak to, they said "So, your slates are really weird. Don't to them like that." They then explained why my slates were jarring and would cost me work, and even went so far as to say that unless the script said to slate, I should never slate.
This really threw me off because I thought I had something good going on with my slates. They were unique to me. My calling card, if you will. The agent, however, said in no uncertain terms that they were bad and that I should can them.
This was especially discombobulating because my other agent liked them! It's not like the first agent was smaller than the second agent or something; both are quite well known. What gives?
This experience percolated for a while until I did some coaching with Elley Ray, which shone some light on it and gave me a new way of looking at things.
You've probably heard of "tips and tricks" that will give you a higher chance of booking a job. Things like improvising a bit, doing multiple takes, humanisms, leaving your mistakes in, etc. I've gotten plenty of them from a whole bunch of different sources and I've tried them all.
What I didn't clue into is that they are almost entirely redundant for one simple reason: you don't know what the person listening to your audition is thinking.
There are a million factors going on that I have zero control over that play into whether or not I'm going to get the job, and there is nothing I can do about it.
It doesn't matter how many takes I do if the listener is in a rush.
It doesn't matter how funny my improv is if they just want to hear the lines of the script.
It doesn't matter how convincing my humanisms are if they don't want them.
It doesn't matter if I get my audition in early if they listen to auditions a week after submitting the request.
It doesn't matter if I slate creatively if they don't want creative slates.
It doesn't matter if I don't slate at all because they may have wanted a slate.
It doesn't matter if I do the perfect read, because they may want someone who sounds more like Aaron Paul than I do.
We all know how ruthless the auditioning process is. My read MIGHT get listened to for five seconds. If I haven't captured them in that time, I'm out, and there's nothing I can do about it.
The thing is, all I can do is GUESS what is going to hook them, and considering how many possibilities there are, the chances of me doing the "right" thing are inconceivably low.
I doesn't matter how well I audition if, for whatever reason, they don't think I have the right read.
To delve deeper into this, I present to you two links to two different ads. Both are from the same series of ads for google chrome. One is for the American market, and one is for the Australian market.
American: https://www.youtube.com/watch?v=nd7zxDThkvk
Australian: https://www.youtube.com/watch?v=qdH_KocQbpA
Same product, same type of script, VASTLY different reads. Question is, why doesn't the American spot sound more like the Australian spot or vice versa?
There are a couple of reasons that come to me off the top of my head.
1: There are different styles of voice-over depending on where you are in the world. You learn things from British coaches that are discouraged by American coaches, for example.
2: Different casting directors could also play a role. Each one will have an ear for their respective market and what is going to do well.
3: Talent worldview. Everyone grew up differently, and it influences how we see the world, communicate, and most importantly, take direction.
The thing is, the talent doing these reads have no control over any of those things. How many amazing reads do you think were sorted through before they settled on these two?
Another example: The guy who's currently the official voice of Mickey Mouse, Bret Iwan? Micky Mouse is legitimately his first gig. He just had a good sense of who Micky was and had a friend at Pixar that sent him the audition. No training, no microphones, no booth, nothing. Just talent and good fortune. Keep in mind, he booked the gig AFTER Disney had already gone through who knows how many other professional voice actors. If you want to hear more of his INSANE story, you can check it out here: https://www.youtube.com/watch?v=9NSCT_ukW-8
All of these examples point to there being almost nothing we can do as talent to increase our chances of getting booked. This is a frightening prospect! Any sense of control that I thought I had over my booking rates? Out the window. It also means that basing my success on the amount I book is redundant because there are people out there with far less experience who book more/better jobs (I mean, Mickey Mouse? Seriously?)
The question then is where does that leave me? If it's just LUCK as to whether or not I make a good enough impression to get the job, then what am I supposed to do?
Well, here's the logical conclusion:
Q. If there isn't anything I can do to make myself stand out and have a better chance of booking the job, what CAN I do?
A. Be yourself.
After all, why not? Because of all the factors that we know go into deciding on a talent, why bother trying to read the tea leaves and predict what they're going to want?
The funny thing is that I actually have a better chance of booking the audition by being myself because at least then I'm guaranteed to be unique in some way, which is the whole point, right? At the very least, I've got a better chance of being unique than the other 50 talent auditioning who are all focusing on the same "secret tips and tricks" and reading the script "correctly" to the point where they all sound the same.
In addition, being authentically me naturally lends itself to coming off as more natural, real, and genuine: all things that are highly sought after nowadays on virtually every project.
Now, this isn't to detract from storytelling ability. That's just as important, and that's where your training comes in. You still have to be able to forget the microphone is there and deliver a captivating performance. You still have to have good diction. However, those things aren't what adds the "special sauce". Anyone with a bit of training can read a script well, or "properly". It's learning how to bring your authentic self to the script that makes the magic happen.
Question is, what does it mean to find your authentic self? How does one do it?
I think the process is different for everyone and is ongoing. In my case, I had to realize that my life is based on perspective and that I can choose to look at things however I want and have them be true enough for me that I'm able to stay happy. Nowadays, I "get" every single script I audition for. That doesn't mean that I book the job, but it does mean that I make sure that I'm never doing a canned performance. If I feel like I'm faking it, I haven't gotten it yet.
I can't say how you can find your authentic self. That's something you have to figure out. What I can say is that part of the process is learning that you have to let go of other people's expectations of you if you want to have a chance at seeing it.
Going back to the "wrong" vs "right" way to read a script; hopefully, I've demonstrated by now that wrong and right in acting are completely down to perception and personal preference. What this means is that on every single script, you have to choose to do what feels right for you. Not what you think is right for the director, or the writer, or the engineer, or anyone else. For you. After all, you are the only person you know well enough to know if you're getting it or not.
By being true to yourself, you'll start shaking off the shackles of conformity and will start doing things that surprise your listener. Heck, you might even surprise yourself! Whether it books you the job or not is another matter, but at least you'll be getting their attention more.
You'll also be having more fun. I'm pretty sure that nobody enjoys the "ah, I messed up that take" process where you do the read fifty times because you think you're inflecting in the wrong way. Nowadays, I almost never record more than three takes.
Forget about the technical side of things. If you've been doing this long enough, that stuff should be second nature. Give into your creative side. "Use the force, Luke".
"But I still want to book work!" I hear you say. Understandable, which is why I have one last thing I'd like to touch on.
There is nothing you can do, outside of being yourself and being an excellent storyteller that is going to get you the winning audition. However, you can still tip the odds in your favor another way.
Strong relationships that are built on trust.
If you demonstrate your integrity, reliability, and trustworthiness on every single job you do, you're going to book work more consistently. The funny thing is that it has nothing to do with ability and everything to who you are as a person.
Oh, and good fortune. You have to be given the opportunity to demonstrate those things in the first place, and that just comes down to the all-powerful casting director saying "let's try the new guy", and as I've hopefully shown, that has almost nothing to do with you.
I know I'm not the only one who's posted on here, discouraged about how things are going. "Why aren't I booking? Am I any good? Am I wasting my time?"
All of these thoughts are based on the worldview that I'M the reason that I'm not booking as much as I want, that there's something wrong with ME, and that I should keep trying to fix ME in order to make people like MY reads more. Had I had the perspective that I have now back when I started, I would have been a more relaxed, creative talent from the get-go, and probably would be farther along than I am now. I wouldn't have wasted time trying to please people. I would have taken more risks, perked up more ears, and probably booked more work. I also would have avoided a LOT of pain and mental strain.
After all, I don't know how well I'm doing. Not really. If someone isn't booking, that doesn't mean they aren't making it to the top five shortlists on every third audition they do. That doesn't mean that they haven't been getting unlucky with who's listening to their reads.
If you've been told by multiple people who know what they're talking about that you're good, then you probably are, particularly if you've been taken on by a reputable agency. You not booking doesn't mean you aren't skilled, or talented. It just means that the stars haven't aligned for you yet, or that you aren't marketing/auditioning enough.
TLDR; Be yourself because it's the only unique thing you can actually do that will make you stand out in some way, and don't base your success on your booking rates because there are people who are less skilled talent than you who are booking more than you. Find your authentic self and define success in the way that is most beneficial for you so that you don't give up and ARE AROUND when you do get your big break. Network, build strong relationships, and always be ready to lend a hand.
Booking consistently is just as much about connections and making a good impression in the industry as auditioning. You'll do auditions that you think are pure gold, and get booked for the job where you half-assed your audition because you were tired. It's completely down to the listener, and you can't know what they're thinking, so why bother trying to figure it out? Be friendly, talk to people, be authentic, and be consistent. I don't think there's an audition technique out there that can beat those things.
AGAIN, THESE ARE MY THOUGHTS AND OPINIONS SO PLEASE DON'T VIVISECT ME.
Merci Beaucoup.
submitted by Cordath to VoiceActing [link] [comments]
Obviously, this is based entirely on my own worldview and personal experience (and will probably be controversial to some), so take it or leave it as you wish. This is just where I'm at currently and I'm sure my views will develop further as time goes on.
The mentality that I had when I started voice acting was that I needed to book the job. That's the whole point. You get the coaching so you can get the demo, so you can get the audition, and then book the job.
Several months ago I had an epiphany (in no small part due to the out-of-this-world perspectives of Elley Ray Hennessy). I now feel that I've been going about things completely wrong this entire time, and it had driven me into the ground.
Let me elaborate.
If you've been in this industry for any length of time, you know that one of the things that is taught regularly is that you have to get coaching before doing anything else. How people go about getting the coaching is up to them, but the majority aren't going to get it all from one source. However, there is one thing that almost all of these coaching methods have in common: they teach that there is a "right" and a "wrong" way to go about doing things.
Some examples may be that it's wrong to brush over the brand name, it's wrong to inflect down at the start of a list, or it's wrong to skip over periods, etc.
The issue here is that, as I've come to see things, "wrong" is a matter of perspective in this work. Yes, there are certain things that are wrong without question (ignoring file labeling instructions comes to mind) but when it comes to the artistic side of this work, wrong is a matter of perspective.
I have a couple of agents I'm working with right now. Shortly after getting the first one, I had a call with them just to introduce myself and to learn more about their work process.
One of the things they commented on was my slates. For every one of the sample scripts they sent my way, I had done some variation on slating my name. On one I'd chosen a very melodramatic tone and said "(off mic) ugh this is so lame! (on mic) It's *name*. (off mic again) that's it? I can go now? Great." Each slate showed my ability to do something that wasn't in the script. The agent said that they thought my slates were clever, showed my range, and they made them pay more attention to my reads. "They woke me up".
For my third agent, I got a call from them, and immediately after saying hi and confirming that I was the voice talent that they wanted to speak to, they said "So, your slates are really weird. Don't to them like that." They then explained why my slates were jarring and would cost me work, and even went so far as to say that unless the script said to slate, I should never slate.
This really threw me off because I thought I had something good going on with my slates. They were unique to me. My calling card, if you will. The agent, however, said in no uncertain terms that they were bad and that I should can them.
This was especially discombobulating because my other agent liked them! It's not like the first agent was smaller than the second agent or something; both are quite well known. What gives?
This experience percolated for a while until I did some coaching with Elley Ray, which shone some light on it and gave me a new way of looking at things.
You've probably heard of "tips and tricks" that will give you a higher chance of booking a job. Things like improvising a bit, doing multiple takes, humanisms, leaving your mistakes in, etc. I've gotten plenty of them from a whole bunch of different sources and I've tried them all.
What I didn't clue into is that they are almost entirely redundant for one simple reason: you don't know what the person listening to your audition is thinking.
There are a million factors going on that I have zero control over that play into whether or not I'm going to get the job, and there is nothing I can do about it.
It doesn't matter how many takes I do if the listener is in a rush.
It doesn't matter how funny my improv is if they just want to hear the lines of the script.
It doesn't matter how convincing my humanisms are if they don't want them.
It doesn't matter if I get my audition in early if they listen to auditions a week after submitting the request.
It doesn't matter if I slate creatively if they don't want creative slates.
It doesn't matter if I don't slate at all because they may have wanted a slate.
It doesn't matter if I do the perfect read, because they may want someone who sounds more like Aaron Paul than I do.
We all know how ruthless the auditioning process is. My read MIGHT get listened to for five seconds. If I haven't captured them in that time, I'm out, and there's nothing I can do about it.
The thing is, all I can do is GUESS what is going to hook them, and considering how many possibilities there are, the chances of me doing the "right" thing are inconceivably low.
I doesn't matter how well I audition if, for whatever reason, they don't think I have the right read.
To delve deeper into this, I present to you two links to two different ads. Both are from the same series of ads for google chrome. One is for the American market, and one is for the Australian market.
American: https://www.youtube.com/watch?v=nd7zxDThkvk
Australian: https://www.youtube.com/watch?v=qdH_KocQbpA
Same product, same type of script, VASTLY different reads. Question is, why doesn't the American spot sound more like the Australian spot or vice versa?
There are a couple of reasons that come to me off the top of my head.
1: There are different styles of voice-over depending on where you are in the world. You learn things from British coaches that are discouraged by American coaches, for example.
2: Different casting directors could also play a role. Each one will have an ear for their respective market and what is going to do well.
3: Talent worldview. Everyone grew up differently, and it influences how we see the world, communicate, and most importantly, take direction.
The thing is, the talent doing these reads have no control over any of those things. How many amazing reads do you think were sorted through before they settled on these two?
Another example: The guy who's currently the official voice of Mickey Mouse, Bret Iwan? Micky Mouse is legitimately his first gig. He just had a good sense of who Micky was and had a friend at Pixar that sent him the audition. No training, no microphones, no booth, nothing. Just talent and good fortune. Keep in mind, he booked the gig AFTER Disney had already gone through who knows how many other professional voice actors. If you want to hear more of his INSANE story, you can check it out here: https://www.youtube.com/watch?v=9NSCT_ukW-8
All of these examples point to there being almost nothing we can do as talent to increase our chances of getting booked. This is a frightening prospect! Any sense of control that I thought I had over my booking rates? Out the window. It also means that basing my success on the amount I book is redundant because there are people out there with far less experience who book more/better jobs (I mean, Mickey Mouse? Seriously?)
The question then is where does that leave me? If it's just LUCK as to whether or not I make a good enough impression to get the job, then what am I supposed to do?
Well, here's the logical conclusion:
Q. If there isn't anything I can do to make myself stand out and have a better chance of booking the job, what CAN I do?
A. Be yourself.
After all, why not? Because of all the factors that we know go into deciding on a talent, why bother trying to read the tea leaves and predict what they're going to want?
The funny thing is that I actually have a better chance of booking the audition by being myself because at least then I'm guaranteed to be unique in some way, which is the whole point, right? At the very least, I've got a better chance of being unique than the other 50 talent auditioning who are all focusing on the same "secret tips and tricks" and reading the script "correctly" to the point where they all sound the same.
In addition, being authentically me naturally lends itself to coming off as more natural, real, and genuine: all things that are highly sought after nowadays on virtually every project.
Now, this isn't to detract from storytelling ability. That's just as important, and that's where your training comes in. You still have to be able to forget the microphone is there and deliver a captivating performance. You still have to have good diction. However, those things aren't what adds the "special sauce". Anyone with a bit of training can read a script well, or "properly". It's learning how to bring your authentic self to the script that makes the magic happen.
Question is, what does it mean to find your authentic self? How does one do it?
I think the process is different for everyone and is ongoing. In my case, I had to realize that my life is based on perspective and that I can choose to look at things however I want and have them be true enough for me that I'm able to stay happy. Nowadays, I "get" every single script I audition for. That doesn't mean that I book the job, but it does mean that I make sure that I'm never doing a canned performance. If I feel like I'm faking it, I haven't gotten it yet.
I can't say how you can find your authentic self. That's something you have to figure out. What I can say is that part of the process is learning that you have to let go of other people's expectations of you if you want to have a chance at seeing it.
Going back to the "wrong" vs "right" way to read a script; hopefully, I've demonstrated by now that wrong and right in acting are completely down to perception and personal preference. What this means is that on every single script, you have to choose to do what feels right for you. Not what you think is right for the director, or the writer, or the engineer, or anyone else. For you. After all, you are the only person you know well enough to know if you're getting it or not.
By being true to yourself, you'll start shaking off the shackles of conformity and will start doing things that surprise your listener. Heck, you might even surprise yourself! Whether it books you the job or not is another matter, but at least you'll be getting their attention more.
You'll also be having more fun. I'm pretty sure that nobody enjoys the "ah, I messed up that take" process where you do the read fifty times because you think you're inflecting in the wrong way. Nowadays, I almost never record more than three takes.
Forget about the technical side of things. If you've been doing this long enough, that stuff should be second nature. Give into your creative side. "Use the force, Luke".
"But I still want to book work!" I hear you say. Understandable, which is why I have one last thing I'd like to touch on.
There is nothing you can do, outside of being yourself and being an excellent storyteller that is going to get you the winning audition. However, you can still tip the odds in your favor another way.
Strong relationships that are built on trust.
If you demonstrate your integrity, reliability, and trustworthiness on every single job you do, you're going to book work more consistently. The funny thing is that it has nothing to do with ability and everything to who you are as a person.
Oh, and good fortune. You have to be given the opportunity to demonstrate those things in the first place, and that just comes down to the all-powerful casting director saying "let's try the new guy", and as I've hopefully shown, that has almost nothing to do with you.
I know I'm not the only one who's posted on here, discouraged about how things are going. "Why aren't I booking? Am I any good? Am I wasting my time?"
All of these thoughts are based on the worldview that I'M the reason that I'm not booking as much as I want, that there's something wrong with ME, and that I should keep trying to fix ME in order to make people like MY reads more. Had I had the perspective that I have now back when I started, I would have been a more relaxed, creative talent from the get-go, and probably would be farther along than I am now. I wouldn't have wasted time trying to please people. I would have taken more risks, perked up more ears, and probably booked more work. I also would have avoided a LOT of pain and mental strain.
After all, I don't know how well I'm doing. Not really. If someone isn't booking, that doesn't mean they aren't making it to the top five shortlists on every third audition they do. That doesn't mean that they haven't been getting unlucky with who's listening to their reads.
If you've been told by multiple people who know what they're talking about that you're good, then you probably are, particularly if you've been taken on by a reputable agency. You not booking doesn't mean you aren't skilled, or talented. It just means that the stars haven't aligned for you yet, or that you aren't marketing/auditioning enough.
TLDR; Be yourself because it's the only unique thing you can actually do that will make you stand out in some way, and don't base your success on your booking rates because there are people who are less skilled talent than you who are booking more than you. Find your authentic self and define success in the way that is most beneficial for you so that you don't give up and ARE AROUND when you do get your big break. Network, build strong relationships, and always be ready to lend a hand.
Booking consistently is just as much about connections and making a good impression in the industry as auditioning. You'll do auditions that you think are pure gold, and get booked for the job where you half-assed your audition because you were tired. It's completely down to the listener, and you can't know what they're thinking, so why bother trying to figure it out? Be friendly, talk to people, be authentic, and be consistent. I don't think there's an audition technique out there that can beat those things.
AGAIN, THESE ARE MY THOUGHTS AND OPINIONS SO PLEASE DON'T VIVISECT ME.
Merci Beaucoup.
2020.01.23 22:23 not-moses Connecting the Dots from Abuse... to Compensation... to Dissociated, Diverse Identities
I was cogitating about my own experiences of dissociation all the way back to my earliest memories of "splitting off" into "more comfortable head spaces" in light of Erik Erikson's widely publicized notion of eight developmental stages and the application of those notions to psychotherapeutic Re-Development as I wove through twilight sleep this morning on the way to "waking up."
(I could go way off into that topic for sure, but suffice it to say that twilight sleep presents us all with opportunities to see, hear, feel and sense what IS beyond the barriers of our conditioning, in-doctrine-ation, instruction, socialization, habituation and normalization) if we develop sufficient self-awareness to do so.)
I saw that even though they rarely carry my "sense" (actually not, but we'll get to that later) of "self" off into Learned Helplessness, Dread & the Victim Identity, my own disparate personas (or "alters") continue to drive me to distraction in well-developed fantasies of one thing and another that have been rehearsed, rewound, replayed, rewarded and reinforced for decades. The most "evolved" and self-aware of all these Internal Family Systems Model characters can see, hear, feel and sense all the others as "characters." Moreover as personas constructed decades ago to be IFSM "protectors" via the same sort of childlike "magical thinking" that is the action of Piagetian-inspired, "fantasy operational processing" (which, IME observing hundreds of "adult children" occurs between his "pre-operational" and "concrete operational" stages of cognitive development). Rehearsed, habituated and normalized over time, these "entities" come to be taken for granted and UNconsciously accepted as -- while not quite "actual" -- elements of the collective self... or Eriksonian Identity.
So, I thought, "Can all this be boiled down to a manageable encapsulation I can use in the future as a working title for conceptual 'lens' through which to observe this phenomenon?" Here's what I came up with (for the time being): Childhood Trauma may drive Fantasy Operational Compensations into Separate Paths to Separate Identities leading to Dissociative Identity Disorder.
And I turned on the computer here and went looking for corroborative scholarship. I found a lot of useful stuff via NCBI, but only one paper thus far (from an author in Istanbul, Turkey, which has been a hotbed of research on both DID and BPD for many years; and NOT, IMO, at all surprisingly in a town where European sophistication interfaces daily with normalized, old-world abuse of -- especially female -- children). Here's the citation and abstract:
V. Sar (at the Koc University School of Medicine): Parallel-Distinct Structures of Internal World and External Reality: Disavowing and Re-Claiming the Self-Identity in the Aftermath of Trauma-Generated Dissociation, in Frontiers in Psychology, Vol. 8, February 2017. (doi: 10.3389/fpsyg.2017.00216 at https://www.ncbi.nlm.nih.gov/pubmed/28261144)
The nature of consciousness and the autonomy of the individual's mind have been a focus of interest throughout the past century and inspired many theories and models. Revival of studies on psychological trauma and dissociation, which remained outside mainstream psychiatry, psychology, and psychoanalysis for the most part of the past century, has provided a new opportunity to revisit this intellectual and scientific endeavor. This paper attempts to integrate a series of empirical and theoretical studies on psychological consequences of developmental traumatization, which may yield further insight into factors which threaten the integrity of human consciousness. The paper proposes that an individual's experience of distorted reality and betrayal precipitates a cyclical dynamic between the individual and the external world by disrupting the developmental function of mutuality which is essential for maintenance of the integrity of the internal world while this inner world is in turn regulated vis-à-vis external reality. Dissociation -- the common factor in all types of post-traumatic syndromes -- is facilitated by violation of boundaries by relational omission and intrusion as represented by distinct effects and consequences of childhood neglect and abuse. Recent research conducted on clinical and non-clinical populations shows both bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response. These seem to reflect "parallel-distinct structures" that control separate networks covering sensori-motor and cognitive-emotional systems. This understanding provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories which culminate in a common final pathway comprised of partly overlapping clinical syndromes such as complex PTSD, dissociative depression, dissociative identity disorder (DID), or "borderline" phenomena. Of crucial theoretical and clinical importance is that these maladaptive post-traumatic psychological formations are regarded as processes in their own right rather than as a personality disorder innate to the individual. Such mental division may perform in that internal detachment can serve to preserve the genuine aspects of the subject until such time as they can be reclaimed via psychotherapy. The paper attempts to integrate these ideas with reference to the previously proposed theory of the "Functional Dissociation of Self" (Şar and Öztürk, 2007).
These are the phrases in that abstract that caught my eye right off:
1) "...factors which threaten the integrity of human consciousness."
2) "...bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response."
3) "...'parallel-distinct structures' that control separate networks covering sensori-motor and cognitive-emotional systems."
4) "This understanding provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories which culminate in a common final pathway comprised of partly overlapping clinical syndromes such as complex PTSD, dissociative depression, dissociative identity disorder (DID), or "borderline" phenomena."
And here's why: Having dived deeply into Bessel van der Kolk's big swimming pool of neurobiological stress (via such as his Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body and Society (1996) and The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma) I ran into people like Bruce McEwen, Sonya Lupien, Robert Sapolsky and old faves like Hans Selye, Joseph Wolpe and Herbert Benson on the way down to the "bottom" and Stephen Porges and Pat Ogden. Sar's paper wastes no time in going straight into all that material on the Fight / Flight / Freeze / Faint / Feign (or Fawn) Responses that can lead to sustained Fry and Freak in the General Adaptation Syndrome. Stay there for even a short time and the mind will start scrambling to find The Way Out... including...
Dissociation.
And when that happens, "...factors which threaten the integrity of human consciousness" start to FRAGMENT consciousness into discrete compartments -- or "vaults" -- where intolerable affective) states can be "locked away" behind compensatory masques of alternate identities. The child can fantasize being capacious, capable and competent in various ways to offset the "fact" of an crushed ego crushed (or "DEcompensated into Learned Helplessness & the Victim Identity from having been repeatedly neglected, ignored, abandoned, discounted, disclaimed, and rejected, as well as invalidated, confused, betrayed, insulted, criticized, judged, blamed, shamed, ridiculed, embarrassed, humiliated, denigrated, derogated, set up to screw up, victimized, demonized, persecuted, picked on, vilified, dumped on, bullied, gaslighted, scapegoated, emotionally blackmailed and/or otherwise abused by others upon whom they depended for survival in early life. (This abuse can occur later in life, e.g.: in lengthy cult emmersion or in a career path where "success" is impossible.)
That "...bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response" and "...'parallel-distinct structures' that control separate networks covering sensori-motor and cognitive-emotional systems" occur in DID seems about as plain as the nose on my face. (To me, anyway.) Which, IMO, "provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories" that are patently obvious in "dissociative identity disorder (DID), or 'borderline' phenomena."
"No one is born crazy. They are taught to be," wrote social psychologist Jules Henry more than 50 years ago. IME, the form of "crazy" we call "dissociation" is just the result of one more -- admittedly complex -- form of conditioning, in-doctrine-ation, instruction, socialization, habituation and normalization) that compels children to come up with some scheme of compensatory narcissistic self-protection to prevent complete destabilization and decompensation into something like the floridly psychotic, schizophreniform disorders.
Identity-switching dissociation may confuse the hell out of the patient and most of the people with whom he or she comes in regular contact, but it's a far "better" alternative than wholesale delusion with NO evident ability to deal with life on life's terms whatsoever.
References & Resources
Abramowitz, J.: the stress less workbook: Simple Strategies to Relieve Pressure, Manage Commitments and Minimize Conflicts; New York: The Guilford Press, 2012.
Agarwal, N.: fMRI Shows Trauma Affects Neural Circuitry, in Clinical Psychiatry News, Vol. 37, No. 3, March 2009.
Alanen, Y.: The Family in the Pathogenesis of Schizophrenic and Neurotic Disorders, in Scandinavian Archives of Psychiatry, No. 42, 1966.
Andersen, S.; Teicher, M.: Desperately Driven and No Brakes: Developmental Stress Exposure and Subsequent Risk for Substance Abuse, in Neuroscience of Behavior Review, Vol. 33, No. 4, April 2009.
Andrianarisoa, M.; Boyer. L.; Godin, O.; et al: Childhood trauma, depression and negative symptoms are independently associated with impaired quality of life in schizophrenia. Results from the national FACE-SZ cohort, in Schizophrenia Research, Vol. 170, No. 1, January 2016. doi: 10.1016/j.schres.2016.12.02
Bateson, G.; Jackson, D.; Haley, J.; Weakland, J.: Toward a Theory of Schizophrenia, in Journal of Behavioral Science, Vol. 1, 1956.
Benson, H.: The Relaxation Response, New York: Morrow, 1975.
Berger, M. D., ed.: Beyond the Double Bind: Communication and Family Systems, Theories, and Techniques with Schizophrenics, New York: BruneMazel, 1978.
Bowen, M.: A Family Concept of Schizophrenia, in Jackson, D., ed.: The Etiology of Schizophrenia, London: Basic Books, 1960.
Burgo, J.: Why Do I Do That?: Psychological Defense Mechanisms and the Hidden Ways they Shape our Lives, Chapel Hill, NC: New Rise Press, 2012.
Burrow, T.: The Social Basis of Consciousness, New York: Harcourt, Brace, 1927.
Carlson, N.: Physiology of Behavior, 7th Ed., Boston: Allyn and Bacon, 2001.
Centers for Disease Control and Prevention: The Effects of Childhood Stress Across the Lifespan, Atlanta, GA: CDC, 2008.
Clarkin, J.; Lenzenweger, M.: Major Theories of Personality Disorder, New York: The Guilford Press, 1996.
Copeland, W.; Keeler, G.; et al: Traumatic events and posttraumatic stress in childhood, in Archives of General Psychiatry, Vol. 64, 2007.
Courtois, C.: It's Not You: It's What Happened to You: Complex Trauma and Treatment, Dublin, OH: Telemachus Press, 2014.
Cullen, A.; Zunszain, P.; et al: Cortisol awakening response and diurnal cortisol among children at elevated risk for schizophrenia: Relationship to psychosocial stress and cognition, in Psychoneuroendocrinology, Vol. 46, Aug 2014.
Dacey, J.; Travers, J.: Human Development, 4th Ed., Boston: McGraw-Hill, 1999.
Damasio, A.: The Feeling of What Happens: Body and Emotion in the Making of Consciousness, New York: Harcourt, 1999.
Damasio, A.: Self Comes to Mind: Constructing the Conscious Brain, New York: Pantheon, 2010.
DeBellis, M.: Developmental Traumatology: Neurobiological Development in Maltreated Children with PTSD, in Psychiatric Times, Vol. 16, No. 11, 1999.
Dworsky, O., Pargament, K.; et al: Suppressing spiritual struggles: The role of experiential avoidance in mental health, in Journal of Contextual Behavioral Science, Vol. 5, No. 4, 2016.
From here on, I'm just going to list the cited references in the text. The purpose of the references listed above is simply to indicate the volume of material that -- IMO -- supports the assertions in the text above. If a reader wants further references and resources to develop a grad school level paper on this topic, they are welcome to contact me for that.
Kluft, R.; et al: Childhood Antecedents of Multiple Personality Disorder, Washington DC: American Psychiatric Press, 1985.
Lupien, S., Gaudreau, S., Tchiteya, B., Maheu, F., Sharma, S., Nair, N., et al: Stress-Induced Declarative Memory Impairment in Healthy Elderly Subjects: Relationship to Cortisol Reactivity, in Journal of Clinical Endocrinology & Metabolism, Vol. 82, No. 7, 1997.
Lupien, S.; Evans, A.; et al: Hippocampal Volume is as Variable in Young as in Older Adults: Implications for the Notion of Hippocampal Atrophy in Humans, in Neuroimage, Vol. 34, No. 2, 2007.
Lupien, S.; Maheu, F.; et al: The Effects of Stress and Stress Hormones on Human Cognition: Implications for the Field of Brain and Cognition, in Brain & Cognition, Vol. 65, No. 3, 2007.
Lupien, S.: Brains Under Stress, in Canadian Journal of Psychiatry / Revue Canadienne De Psychiatrie, Vol. 54, No. 1, 2009.
Lupien, S.; McEwen, B.; Gunnar, M.; Heim, C.: Effects of stress throughout the lifespan on the brain, behaviour and cognition, in Nature Reviews - Neurosciences, April 29, 2009.
McEwen, B.; Seeman, T.: Protective and damaging effects of mediators of stress: Elaborating and testing the concepts of allostasis and allostatic load, in Annals of the New York Academy of Sciences, Vol. 896, 1999.
McEwen, B: Mood Disorders and Allostatic Load, in Journal of Biological Psychiatry, Vol. 54, 2003.
McEwen, B.; Lasley, E. N.: The End of Stress as We Know It, Washington, DC: The Dana Press, 2003.
Ogden, P.; Minton, K.: Sensorimotor Psychotherapy: One Method for Processing Traumatic Memory, in Traumatology, Vol. 6, Issue 3, October 2000.
Ogden, P.; Minton, K.: Trauma and the Body: A Sensorimotor Approach to Psychotherapy, New York: W. W. Norton, 2006.
Ogden, P.; Fisher, J.: Sensorimotor Psychotherapy: Interventions for Trauma and Attachment, New York: W. W. Norton, 2015.
Porges, S.: The polyvagal theory: New insights into adaptive reactions of the autonomic nervous system, in Cleveland Clinical Medical Journal, No. 76, April 2009.
Porges, S.: The Pocket Guide to the Polyvagal Theory: The Transformative Power of Feeling Safe (Norton Series on Interpersonal Neurobiology), New York: W. W. Norton, 2015.
Putnam, F.: Diagnosis and Treatment of Multiple Personality Disorder, New York: The Guilford Press, 1989.
Putnam, F.: Dissociation in Children and Adolescents: A Developmental Perspective, New York: The Guilford Press, 1997.
Sapolsky, R.: Why Zebras Don't Get Ulcers: The Acclaimed Guide to Stress, Stress-Related Diseases and Coping, 3rd Ed., New York: Holt, 2004.
Selye, H.: Stress Without Distress, Philadelphia: J. B. Lippencott, 1974.
Van der Hart, O.; Horst, R.: The Dissociation Theory of Pierre Janet, in Journal of Traumatic Stress, Vol. 2, No. 4, 1989.
Van der Hart, O.; Nijenhuis, E.; Steele, K.: The Haunted Self: Structural Dissociation and the Treatment of Chronic Traumatization, New York: W.W. Norton, 2006.
Van der Kolk, B: Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body and Society, New York: Guilford Press, 1996 / 2007.
Van der Kolk, B: The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, New York: Viking Press, 2014.
Van der Kolk, B.: Commentary: The devastating effects of ignoring child maltreatment in psychiatry – a commentary on Teicher and Samson 2016, in Journal of Child Psychology and Psychiatry, Vol. 57, No. 3, March 2016.
Wolpe, J.: Psychotherapy by Reciprocal Inhibition, Palo Alto, CA: Stanford University Press, 1958.
Wolpe, J.; Wolpe, D.: Life Without Fear: Anxiety and Its Cure, Boston: Houghton Mifflin, 1981, and Oakland, CA: New Harbinger, 1987.
submitted by not-moses to ResponsibleRecovery [link] [comments]
(I could go way off into that topic for sure, but suffice it to say that twilight sleep presents us all with opportunities to see, hear, feel and sense what IS beyond the barriers of our conditioning, in-doctrine-ation, instruction, socialization, habituation and normalization) if we develop sufficient self-awareness to do so.)
I saw that even though they rarely carry my "sense" (actually not, but we'll get to that later) of "self" off into Learned Helplessness, Dread & the Victim Identity, my own disparate personas (or "alters") continue to drive me to distraction in well-developed fantasies of one thing and another that have been rehearsed, rewound, replayed, rewarded and reinforced for decades. The most "evolved" and self-aware of all these Internal Family Systems Model characters can see, hear, feel and sense all the others as "characters." Moreover as personas constructed decades ago to be IFSM "protectors" via the same sort of childlike "magical thinking" that is the action of Piagetian-inspired, "fantasy operational processing" (which, IME observing hundreds of "adult children" occurs between his "pre-operational" and "concrete operational" stages of cognitive development). Rehearsed, habituated and normalized over time, these "entities" come to be taken for granted and UNconsciously accepted as -- while not quite "actual" -- elements of the collective self... or Eriksonian Identity.
So, I thought, "Can all this be boiled down to a manageable encapsulation I can use in the future as a working title for conceptual 'lens' through which to observe this phenomenon?" Here's what I came up with (for the time being): Childhood Trauma may drive Fantasy Operational Compensations into Separate Paths to Separate Identities leading to Dissociative Identity Disorder.
And I turned on the computer here and went looking for corroborative scholarship. I found a lot of useful stuff via NCBI, but only one paper thus far (from an author in Istanbul, Turkey, which has been a hotbed of research on both DID and BPD for many years; and NOT, IMO, at all surprisingly in a town where European sophistication interfaces daily with normalized, old-world abuse of -- especially female -- children). Here's the citation and abstract:
V. Sar (at the Koc University School of Medicine): Parallel-Distinct Structures of Internal World and External Reality: Disavowing and Re-Claiming the Self-Identity in the Aftermath of Trauma-Generated Dissociation, in Frontiers in Psychology, Vol. 8, February 2017. (doi: 10.3389/fpsyg.2017.00216 at https://www.ncbi.nlm.nih.gov/pubmed/28261144)
The nature of consciousness and the autonomy of the individual's mind have been a focus of interest throughout the past century and inspired many theories and models. Revival of studies on psychological trauma and dissociation, which remained outside mainstream psychiatry, psychology, and psychoanalysis for the most part of the past century, has provided a new opportunity to revisit this intellectual and scientific endeavor. This paper attempts to integrate a series of empirical and theoretical studies on psychological consequences of developmental traumatization, which may yield further insight into factors which threaten the integrity of human consciousness. The paper proposes that an individual's experience of distorted reality and betrayal precipitates a cyclical dynamic between the individual and the external world by disrupting the developmental function of mutuality which is essential for maintenance of the integrity of the internal world while this inner world is in turn regulated vis-à-vis external reality. Dissociation -- the common factor in all types of post-traumatic syndromes -- is facilitated by violation of boundaries by relational omission and intrusion as represented by distinct effects and consequences of childhood neglect and abuse. Recent research conducted on clinical and non-clinical populations shows both bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response. These seem to reflect "parallel-distinct structures" that control separate networks covering sensori-motor and cognitive-emotional systems. This understanding provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories which culminate in a common final pathway comprised of partly overlapping clinical syndromes such as complex PTSD, dissociative depression, dissociative identity disorder (DID), or "borderline" phenomena. Of crucial theoretical and clinical importance is that these maladaptive post-traumatic psychological formations are regarded as processes in their own right rather than as a personality disorder innate to the individual. Such mental division may perform in that internal detachment can serve to preserve the genuine aspects of the subject until such time as they can be reclaimed via psychotherapy. The paper attempts to integrate these ideas with reference to the previously proposed theory of the "Functional Dissociation of Self" (Şar and Öztürk, 2007).
These are the phrases in that abstract that caught my eye right off:
1) "...factors which threaten the integrity of human consciousness."
2) "...bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response."
3) "...'parallel-distinct structures' that control separate networks covering sensori-motor and cognitive-emotional systems."
4) "This understanding provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories which culminate in a common final pathway comprised of partly overlapping clinical syndromes such as complex PTSD, dissociative depression, dissociative identity disorder (DID), or "borderline" phenomena."
And here's why: Having dived deeply into Bessel van der Kolk's big swimming pool of neurobiological stress (via such as his Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body and Society (1996) and The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma) I ran into people like Bruce McEwen, Sonya Lupien, Robert Sapolsky and old faves like Hans Selye, Joseph Wolpe and Herbert Benson on the way down to the "bottom" and Stephen Porges and Pat Ogden. Sar's paper wastes no time in going straight into all that material on the Fight / Flight / Freeze / Faint / Feign (or Fawn) Responses that can lead to sustained Fry and Freak in the General Adaptation Syndrome. Stay there for even a short time and the mind will start scrambling to find The Way Out... including...
Dissociation.
And when that happens, "...factors which threaten the integrity of human consciousness" start to FRAGMENT consciousness into discrete compartments -- or "vaults" -- where intolerable affective) states can be "locked away" behind compensatory masques of alternate identities. The child can fantasize being capacious, capable and competent in various ways to offset the "fact" of an crushed ego crushed (or "DEcompensated into Learned Helplessness & the Victim Identity from having been repeatedly neglected, ignored, abandoned, discounted, disclaimed, and rejected, as well as invalidated, confused, betrayed, insulted, criticized, judged, blamed, shamed, ridiculed, embarrassed, humiliated, denigrated, derogated, set up to screw up, victimized, demonized, persecuted, picked on, vilified, dumped on, bullied, gaslighted, scapegoated, emotionally blackmailed and/or otherwise abused by others upon whom they depended for survival in early life. (This abuse can occur later in life, e.g.: in lengthy cult emmersion or in a career path where "success" is impossible.)
That "...bimodal (undermodulation and overmodulation) and bipolar (intrusion and avoidance) neurobiological and phenomenological characteristics of post-traumatic response" and "...'parallel-distinct structures' that control separate networks covering sensori-motor and cognitive-emotional systems" occur in DID seems about as plain as the nose on my face. (To me, anyway.) Which, IMO, "provides a conceptual framework to assist explanation of diverse post-traumatic mental trajectories" that are patently obvious in "dissociative identity disorder (DID), or 'borderline' phenomena."
"No one is born crazy. They are taught to be," wrote social psychologist Jules Henry more than 50 years ago. IME, the form of "crazy" we call "dissociation" is just the result of one more -- admittedly complex -- form of conditioning, in-doctrine-ation, instruction, socialization, habituation and normalization) that compels children to come up with some scheme of compensatory narcissistic self-protection to prevent complete destabilization and decompensation into something like the floridly psychotic, schizophreniform disorders.
Identity-switching dissociation may confuse the hell out of the patient and most of the people with whom he or she comes in regular contact, but it's a far "better" alternative than wholesale delusion with NO evident ability to deal with life on life's terms whatsoever.
References & Resources
Abramowitz, J.: the stress less workbook: Simple Strategies to Relieve Pressure, Manage Commitments and Minimize Conflicts; New York: The Guilford Press, 2012.
Agarwal, N.: fMRI Shows Trauma Affects Neural Circuitry, in Clinical Psychiatry News, Vol. 37, No. 3, March 2009.
Alanen, Y.: The Family in the Pathogenesis of Schizophrenic and Neurotic Disorders, in Scandinavian Archives of Psychiatry, No. 42, 1966.
Andersen, S.; Teicher, M.: Desperately Driven and No Brakes: Developmental Stress Exposure and Subsequent Risk for Substance Abuse, in Neuroscience of Behavior Review, Vol. 33, No. 4, April 2009.
Andrianarisoa, M.; Boyer. L.; Godin, O.; et al: Childhood trauma, depression and negative symptoms are independently associated with impaired quality of life in schizophrenia. Results from the national FACE-SZ cohort, in Schizophrenia Research, Vol. 170, No. 1, January 2016. doi: 10.1016/j.schres.2016.12.02
Bateson, G.; Jackson, D.; Haley, J.; Weakland, J.: Toward a Theory of Schizophrenia, in Journal of Behavioral Science, Vol. 1, 1956.
Benson, H.: The Relaxation Response, New York: Morrow, 1975.
Berger, M. D., ed.: Beyond the Double Bind: Communication and Family Systems, Theories, and Techniques with Schizophrenics, New York: BruneMazel, 1978.
Bowen, M.: A Family Concept of Schizophrenia, in Jackson, D., ed.: The Etiology of Schizophrenia, London: Basic Books, 1960.
Burgo, J.: Why Do I Do That?: Psychological Defense Mechanisms and the Hidden Ways they Shape our Lives, Chapel Hill, NC: New Rise Press, 2012.
Burrow, T.: The Social Basis of Consciousness, New York: Harcourt, Brace, 1927.
Carlson, N.: Physiology of Behavior, 7th Ed., Boston: Allyn and Bacon, 2001.
Centers for Disease Control and Prevention: The Effects of Childhood Stress Across the Lifespan, Atlanta, GA: CDC, 2008.
Clarkin, J.; Lenzenweger, M.: Major Theories of Personality Disorder, New York: The Guilford Press, 1996.
Copeland, W.; Keeler, G.; et al: Traumatic events and posttraumatic stress in childhood, in Archives of General Psychiatry, Vol. 64, 2007.
Courtois, C.: It's Not You: It's What Happened to You: Complex Trauma and Treatment, Dublin, OH: Telemachus Press, 2014.
Cullen, A.; Zunszain, P.; et al: Cortisol awakening response and diurnal cortisol among children at elevated risk for schizophrenia: Relationship to psychosocial stress and cognition, in Psychoneuroendocrinology, Vol. 46, Aug 2014.
Dacey, J.; Travers, J.: Human Development, 4th Ed., Boston: McGraw-Hill, 1999.
Damasio, A.: The Feeling of What Happens: Body and Emotion in the Making of Consciousness, New York: Harcourt, 1999.
Damasio, A.: Self Comes to Mind: Constructing the Conscious Brain, New York: Pantheon, 2010.
DeBellis, M.: Developmental Traumatology: Neurobiological Development in Maltreated Children with PTSD, in Psychiatric Times, Vol. 16, No. 11, 1999.
Dworsky, O., Pargament, K.; et al: Suppressing spiritual struggles: The role of experiential avoidance in mental health, in Journal of Contextual Behavioral Science, Vol. 5, No. 4, 2016.
From here on, I'm just going to list the cited references in the text. The purpose of the references listed above is simply to indicate the volume of material that -- IMO -- supports the assertions in the text above. If a reader wants further references and resources to develop a grad school level paper on this topic, they are welcome to contact me for that.
Kluft, R.; et al: Childhood Antecedents of Multiple Personality Disorder, Washington DC: American Psychiatric Press, 1985.
Lupien, S., Gaudreau, S., Tchiteya, B., Maheu, F., Sharma, S., Nair, N., et al: Stress-Induced Declarative Memory Impairment in Healthy Elderly Subjects: Relationship to Cortisol Reactivity, in Journal of Clinical Endocrinology & Metabolism, Vol. 82, No. 7, 1997.
Lupien, S.; Evans, A.; et al: Hippocampal Volume is as Variable in Young as in Older Adults: Implications for the Notion of Hippocampal Atrophy in Humans, in Neuroimage, Vol. 34, No. 2, 2007.
Lupien, S.; Maheu, F.; et al: The Effects of Stress and Stress Hormones on Human Cognition: Implications for the Field of Brain and Cognition, in Brain & Cognition, Vol. 65, No. 3, 2007.
Lupien, S.: Brains Under Stress, in Canadian Journal of Psychiatry / Revue Canadienne De Psychiatrie, Vol. 54, No. 1, 2009.
Lupien, S.; McEwen, B.; Gunnar, M.; Heim, C.: Effects of stress throughout the lifespan on the brain, behaviour and cognition, in Nature Reviews - Neurosciences, April 29, 2009.
McEwen, B.; Seeman, T.: Protective and damaging effects of mediators of stress: Elaborating and testing the concepts of allostasis and allostatic load, in Annals of the New York Academy of Sciences, Vol. 896, 1999.
McEwen, B: Mood Disorders and Allostatic Load, in Journal of Biological Psychiatry, Vol. 54, 2003.
McEwen, B.; Lasley, E. N.: The End of Stress as We Know It, Washington, DC: The Dana Press, 2003.
Ogden, P.; Minton, K.: Sensorimotor Psychotherapy: One Method for Processing Traumatic Memory, in Traumatology, Vol. 6, Issue 3, October 2000.
Ogden, P.; Minton, K.: Trauma and the Body: A Sensorimotor Approach to Psychotherapy, New York: W. W. Norton, 2006.
Ogden, P.; Fisher, J.: Sensorimotor Psychotherapy: Interventions for Trauma and Attachment, New York: W. W. Norton, 2015.
Porges, S.: The polyvagal theory: New insights into adaptive reactions of the autonomic nervous system, in Cleveland Clinical Medical Journal, No. 76, April 2009.
Porges, S.: The Pocket Guide to the Polyvagal Theory: The Transformative Power of Feeling Safe (Norton Series on Interpersonal Neurobiology), New York: W. W. Norton, 2015.
Putnam, F.: Diagnosis and Treatment of Multiple Personality Disorder, New York: The Guilford Press, 1989.
Putnam, F.: Dissociation in Children and Adolescents: A Developmental Perspective, New York: The Guilford Press, 1997.
Sapolsky, R.: Why Zebras Don't Get Ulcers: The Acclaimed Guide to Stress, Stress-Related Diseases and Coping, 3rd Ed., New York: Holt, 2004.
Selye, H.: Stress Without Distress, Philadelphia: J. B. Lippencott, 1974.
Van der Hart, O.; Horst, R.: The Dissociation Theory of Pierre Janet, in Journal of Traumatic Stress, Vol. 2, No. 4, 1989.
Van der Hart, O.; Nijenhuis, E.; Steele, K.: The Haunted Self: Structural Dissociation and the Treatment of Chronic Traumatization, New York: W.W. Norton, 2006.
Van der Kolk, B: Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body and Society, New York: Guilford Press, 1996 / 2007.
Van der Kolk, B: The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, New York: Viking Press, 2014.
Van der Kolk, B.: Commentary: The devastating effects of ignoring child maltreatment in psychiatry – a commentary on Teicher and Samson 2016, in Journal of Child Psychology and Psychiatry, Vol. 57, No. 3, March 2016.
Wolpe, J.: Psychotherapy by Reciprocal Inhibition, Palo Alto, CA: Stanford University Press, 1958.
Wolpe, J.; Wolpe, D.: Life Without Fear: Anxiety and Its Cure, Boston: Houghton Mifflin, 1981, and Oakland, CA: New Harbinger, 1987.
2018.10.17 01:17 Jwiley92 HAVA ONE Pod System - A Review by jwiley92
Introduction
Hi y'all,Today I'm here to review the HAVA ONE pod system by HAVA. They are a pretty new company that I hadn't heard of before they contacted me for review. They also seem to have a full name of HAVA HALI, which stands for HAppy VAping, HAppy LIving.
The ONE is a draw activated refillable pod system with a metal exterior. Let's get into the review!
Disclaimer: This product was provided to me by the manufacturer. I will not let that affect my opinions on the device. I started doing reviews on products that I had purchased myself just because I had them and wanted to get some more honest reviews out there, and that is still very important to me.
This product is not yet available for sale, so I do not know the final cost or if I even have the final version.
Full Photo Album
What's in the Box?
Manufacturer's Specs
- 99 G All in One Metal Body
- 3 Optional Power Output Modes
- Ceramic Coil Inside（1.2Ω) Suitable for Nicotine Salt eJuice（18 to 50mg）
- Cotton Coil Optional （1.2Ω) Suitable for Regular Freebase Nicotine eJuice（0/3/6mg）
- Patented Design
- 16.5° Suspending Drip Tip Design
- Magnetic Front Cover
- 2 ml Refillable and Build in Pod
- Multiple Safety Protections
- Food Grade Antibacterial and Anti Fingerprint Nano Coating
- 350 mAh Built In Battery
Contents
- HAVA ONE Kit
- 1.2 Ω Ceramic coil
- USB Cable
- User Manual
- HAVA Profile Card
- Warning Card
- Warranty Card
- Conformity Certificate
- Silicone Dust Proof Cover
- Silicone Drip Tip
Packaging
The HAVA ONE comes in a red tray with a red sleeve. The front of the sleeve features a picture of the device and a large nicotine warning. The back of the sleeve has a description of the kit, the contents, and another nicotine warning.Removing the sleeve reveals a plastic insert holding the device with dust guard installed, cable, and foil-packeted ceramic pod.
Remove the insert, and the bottom of the box holds all the documents and the silicone drip tip cover.
Overall, clean packaging. I like that the pod was in a foil packet and that the dust guard was inserted in the pod which was itself in a little sleeve. Other notes are that the USB cable worked well and didn't feel flimsy, and while I had no use for the drip tip, as I don't let people I don’t know well use my vapes in the first place, it was comfortable to use.
Aesthetics & Build Quality
Colors
The ONE comes in 5 colors, which can be viewed on the website link. They are Gun Metal, Black, Bright Chrome, Silver, and Silver-White. I received the Gun Metal color, which I think looks very nice.HAVA ONE Device
This pod system is very sleek. It's shiny and full of curves and has minimal branding and I really like the way it looks and feels. The front has a small cutout in the magnetic cover in the shape of HAVA's logo, which lets the status light shine through. The back has the only other visible branding on the device, in the form of text stating "HAVA ONE". I really dislike intrusive branding, so I'm a fan of how they styled this device.The shiny, metallic exterior can be a bit of a fingerprint magnet. Mine feels very solidly constructed and I haven't noticed any issues with the finishing coming off yet.
Opening up the front cover reveals the slot for the pod, the button, the status light and the USB port. The magnets here are strong enough to hold the front cover on by one edge, allowing you to hinge it open, if you so desire. There is a plastic strip that goes under the pod to help remove it. With the pod installed, it looks like this.
I did notice a bit of an issue with fitment on the front cover. There isn’t anything that locks or snaps the front cover in place besides the magnets. When you get it in the right spot, it's nice and clicky and works very well. However, when you don’t get it in the right spot, it can sometimes not press the button when you push on it. Definitely some room for improvement here, maybe some tabs that hold it in the correct position? There is also not a notch or anything to lift up the front cover, which would be another welcome change. Especially given the strength of the magnets. My final critique of the design is that there is no juice window. It adds to the sleekness of the device, but a little cutout on the back would be great. I toasted one pod because I didn't realize that I was out of liquid yet, and that was a bummer.
Pods
The pods come in ceramic and cotton and can be distinguished by color. They have a coil housed in metal in the center, with quite a few wicking ports. The top has a rubber gasket which, when removed, allows access to the filling ports. This gasket stays in place pretty solidly, I had no issues with leaking when carrying filled pods in my pocket.The cotton pods also seem to have a rubber obstruction in the middle of the airflow hole, which can be seen here (cotton pod on the left). This restricts airflow a bit and can make it hard to activate. It can also move during use, which can lead to some very unsatisfactory hits, which I will discuss more in the performance section.
Overall Thoughts on Aesthetics & Build Quality
I do really like the look and feel of this device. It has a bit of heft to it but is still light enough to forget in your pocket. It is also small enough and slim, fitting well in the fifth pocket of my jeans. No leaking from carrying filled pods was also a plus. There are a few design concerns that I mentioned, but overall I liked this device on this front.Now, onto the performance, because that's the important bit.
Battery Life, Operation, and Performance
Battery Life
While the battery is small at 350 mAh, it does last a decently long time. About the length of time it takes to vape a pod for me. It normally got me through the work day, or close to it. Charging was quick, as it should be with a battery this small. It takes about 30 minutes to charge up to full from completely dead. It is a bit cumbersome that you have to remove the front cover to charge it.There is an issue with the battery life indicator. The light is supposed to start being yellow instead of white at 30% battery life. Instead, it would go yellow one, maybe two hits before it was completely dead. This made the battery meter completely useless. They have a lot of light colors available (they use red, blue, green, yellow and white) so it would have been nice to have a few more breakpoints for battery life.
Operation
Turning the device on and off is simple. Five clicks on, five clicks off. It will flash white three times when powering on, and flash red three times when powering off.The ONE has 3 different modes, which dictates the voltage to the coil. Taste Mode (3.5v output, white light), Powerful Taste Mode (3.7v output, green light), and Bypass mode (4.2v output, blue light). With the 1.2 ohm coils this translates to 10.2 watts, 11.4 watts, and 14.7 watts. You can change modes by clicking the button 3 times quickly, and you can click the button to illuminate the light and show you which mode you are on. I couldn't think of a way to verify the output, but you can tell the difference in power applied in use.
This is a draw activated system, despite having a button. I haven't had it autofire or misfire yet, so that's good. It takes a purposeful inhale to activate, but not a particularly strong one. Overall, I feel that the draw activation works pretty well on here. I would also like to be able to use the button to fire it, but as long as the draw activation holds up then it is fine.
I have noticed a bit of strange behavior in the functioning of the button combined with the draw sensor. If you press the button before inhaling, it will not fire. If you press it after firing, it will keep firing until you let go or it reaches the time out protection of 10s. I don't see this behavior as a good or bad thing, but wanted to note it because the manual doesn't.
The 10s overdraw protection works well and flashes red eight times to let you know that is why is stopped firing. The short protection also works, and cycles through red, blue, and green twice to let you know that a short has been detected.
Performance
Using the ceramic pods, I enjoyed the flavor and vapor production that I was getting. They are not fantastic, but I found them to be acceptable for a device of this size. The ceramic coils functioned well overall for me, they didn't have any issues wicking with 70/30 or 50/50 liquid and I also didn’t get any leaking with a pod in the device or in my pocket. Normally, they lasted at least five fills, or 10ml, before the taste diminished, the one that I used past this point has had nine fills, or 18ml, and doesn’t taste burnt yet. I would have liked to get more refills out of them, but as long as the price ends up being right then this seemed fine to me.Using the cotton pods didn't go as well. Of the three I had, one was a dud. The rubber whatever in the airflow also made these a lot more restricted and harder to hit, leading to less vapor production, which confused me because their specs actually state these are to be used with lower freebase nicotine. Both of the other ones had the rubber gasket thing inside shift during use, which led to a bit of leaking at times and other times completely blocked the airflow. On one of them the gasket rotated a bit and poked out of the bottom, and in my frustration, I removed it to see if that would fix the issue. The obstruction was gone, and it hit like the ceramic pods, unfortunately it also immediately burnt the pod out. I didn't end up using any of these their full lifespan due to these issues and was overall very disappointed with their performance.
In other performance notes, the draw is very comfortable on this device. It is a very loose MTL draw. The vapor production is satisfying but minimal enough to be unnoticeable if held in. I also was out with some friends that use, or have used, JUULs and let them use the device with one of the ceramic pods. They all enjoyed it more than their JUULs, which is a good sign to me.
Pros
- Light, but with enough heft to feel nice
- Metal construction
- Acceptable vapor and flavor for a pod system from the ceramic pods
- Strong magnets
- Draw activation works well
- 2ml pods
- Leak free pods
- Easy filling
- Quick charging
- Different output modes
- Acceptable pod life
Cons
- Poor performance with cotton pods
- Front door doesn't snap into place and can occasionally make the button hard to press
- No button fire
- Small battery
- Have to remove cover to charge
- Inaccurate battery meter
- No juice window
- Front plate can be difficult to remove
Final Thoughts
While I did enjoy the performance of the ceramic pods, the cotton ones performed very poorly, and unless they are changed I would recommend steering clear. This is a large con in my opinion due to the general thoughts around the safety of using ceramic as coil or wicking material. The device itself felt nice to use and is enjoyable to look at and hold, but definitely has room for improvement, most notably to me in the lack of a juice window and battery meter.Overall, whether or not this is worth it will come down to the cost, which is not posted yet. The actual device seems pretty solid, personally I'd like to see it for $40 or less for it to be a good value. The ceramic pods have an acceptable lifespan, but without a longer one I'd really like to see them for less than $15 a 3-pack. If the pricing ends up in that range, then I'd feel good recommending this to someone looking for a sleek, metal pod system, but if it ends up being a bit more then I wouldn't. It also bears repeating that the pods that actually work are ceramic, which is a no go for a lot of people.
I hope y'all have enjoyed reading the review, and hope to see you around the sub. Let me know if you have any questions!
2017.10.17 13:13 nxxkx [OC] 2017-2018 NBA Almanac
After a long summer the NBA is finally back and so am I with another NBA Book for the new season. Some of you will remember the NBA Book I put out last year. Well in the words of the G.O.A.T., "I'm Back".
2017-2018 NBA Almanac
Over the past 12 months I have put together another comprehensive NBA Almanac just in time for the new season to serve as your essential guide to the 2017-2018 season.
I can only hope you enjoy this book as much as I enjoyed putting it together. Print it out. Share it with your friends. Use it to answer any questions you might have about the NBA.
Now sit back and enjoy the 2017-2018 NBA Season.
Edit - I cannot begin to thank each and everyone of you for your comments, golds, love and appreciation for this years Almanac. Its been a year in the making and feedback like this makes every moment spent on the Almanac worth it. The recognition from KOC to the personal emails some of you have sent me have been a blessing. I understand some of you may be having trouble viewing the google drive file. I suggest just download the PDF file to your desktop and view it from there or change browser (Chrome seems to be working fine). That should fix up your issues. When I get time I promise to read through all the comments but for now its time to watch some NBA Basketball! Enjoy the season guys.
submitted by nxxkx to nba [link] [comments]
2017-2018 NBA Almanac
Over the past 12 months I have put together another comprehensive NBA Almanac just in time for the new season to serve as your essential guide to the 2017-2018 season.
I can only hope you enjoy this book as much as I enjoyed putting it together. Print it out. Share it with your friends. Use it to answer any questions you might have about the NBA.
Now sit back and enjoy the 2017-2018 NBA Season.
Edit - I cannot begin to thank each and everyone of you for your comments, golds, love and appreciation for this years Almanac. Its been a year in the making and feedback like this makes every moment spent on the Almanac worth it. The recognition from KOC to the personal emails some of you have sent me have been a blessing. I understand some of you may be having trouble viewing the google drive file. I suggest just download the PDF file to your desktop and view it from there or change browser (Chrome seems to be working fine). That should fix up your issues. When I get time I promise to read through all the comments but for now its time to watch some NBA Basketball! Enjoy the season guys.
2017.04.10 17:20 G0rgiczeA Every skin in Battlefield 1 complete list!
Hello everyone!
I had a lot of free time in the past few days, so I decided to make a complete list of all the skins currently available in Battlefield 1. I've made a few tables in the past, but now they all come together in one this one big thread. Every weapon is separated by type, so you'll have an easier time finding the skin you need. Enjoy!
Extra skin:
Extra skin:
Extra skin:
Extra skin:
Extra skins:
Extra skins:
Extra skins:
That's all folks! I'll make more threads once more skins will become available. Excuse me for my mistakes, if I've made any. Definetly mention them in the comments so I can make them right. Be sure to discuss the skin(s) you have/want down in the comments.
submitted by G0rgiczeA to battlefield_one [link] [comments]
I had a lot of free time in the past few days, so I decided to make a complete list of all the skins currently available in Battlefield 1. I've made a few tables in the past, but now they all come together in one this one big thread. Every weapon is separated by type, so you'll have an easier time finding the skin you need. Enjoy!
1. Shotguns
| Shotguns | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| Model 10-A | Camouflage Pattern/Shroud/Masking/Veil | Brawler/Dillinger | The Riot |
| M97 Trench Gun | Veteran Soldier/Guard/Infantry/Cavalry | Meuse/Trenchbroom | The Sweeper |
| 12G Automatic | Royal Decree/Edict/Order/Statue | Argonne/Thunderball | The Humpback |
| Sjögren Inertial | House of Valois/Lancaster/Bourbon/Bonaparte | Carl Axel/Douaumont | Le Mort-Homme |
| Total Shotgun skins: 28+1 extra | 16 | 8 | 4 |
- Hellfighter M97 Trench Gun - You get this skin if you pre-ordered the game
2. SMGs
| SMGs | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| MP 18 | Camouflage Pattern/Shroud/Masking/Veil | Hazebrouck/Breakthrough Muller | The Kaiserschlacht |
| Automatico M1918 | Royal Decree/Edict/Order/Statue | Isonzo/Vittoria | The Savoia |
| Hellriegel 1915 | Veteran Soldier/Guard/Infantry/Cavalry | Tyrol/Snail | The Archduke |
| Ribeyrolles 1918 | House of Valois/Lancaster/Bourbon/Bonaparte | Lazare/Espirit de Crops | L'Union Sacrée |
| Total SMG skins: 28+1 extra | 16 | 8 | 4 |
- The Hutier for the MP 18 - You can get this skin by completing the given requirements during a Battlefest
3. Selfloading Rifles
| Selfloading Rifles | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| Cei-Rigotti | Royal Decree/Edict/Order/Statue | Bersaglieri/Amerigo | The Duke of Aosta |
| Selbstlader M1916 | Veteran Soldier/Guard/Infantry/Cavalry | Bavarian/Kronprinz | The Chancellor |
| M1907 SL | Camouflage Pattern/Shroud/Masking/Veil | Ypres/Deadlock | The Blue Devil |
| Mondragón | Camouflage Pattern/Shroud/Masking/Veil | Mesopolanica/Löwenhardt | The Mexican |
| Autoloading 8 .35 | Veteran Soldier/Guard/Infantry/Cavalry | Brusilov/Moses | The Hunter |
| Selbstlader 1906 | Royal Decree/Edict/Order/Statue | Charleroi/Falkenhayn | The Kaiserin |
| RSC 1917 | House of Valois/Lancaster/Bourbon/Bonaparte | Grandmaison/Papa Joffre | Le Tigre |
| Total Selfloading Rifle skins: 49+1 extra | 28 | 14 | 7 |
- Fiamme Verdi for the Cei-Rigotti - You get this skin if you finish the War Story 'Avanti Savoia' and complete all codex entries (including collecting all field manuals)
4. LMGs
| LMGs | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| Lewis Gun | Royal Decree/Edict/Order/Statue | Arras/Messines | The Rattlesnake |
| M1909 Benét-Mercié | Veteran Soldier/Guard/Infantry/Cavalry | Le Cateau/Verdun | The Foch |
| Madsen MG | Camouflage Pattern/Shroud/Masking/Veil | Tannenberg/Deathshead | The Dane |
| MG 15 n.A. | Camouflage Pattern/Shroud/Masking/Veil | Bapaume/Moltke | The König |
| BAR M1918 | Royal Decree/Edict/Order/Statue | Malancourt/Warhorse | The Doughboy |
| Huot Automatic | Veteran Soldier/Guard/Infantry/Cavalry | Vimy Ridge/Crucifier | The Seaforth Highlander |
| Chauchat | House of Valois/Lancaster/Bourbon/Bonaparte | Sho-Sho/Gladiator | Le Flambeau |
| Total LMG skins: 49+1 extra | 28 | 14 | 7 |
- Trench Clearer for the M1909 Benét-Mercié - You get this skin if you complete the campaign on any difficulty
5. Single-shot Rifles
| Single-shot Rifles | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| Russian 1895 | Royal Decree/Edict/Order/Statue | Pancho Villa/Rough Rider | The Medicine |
| Gewehr 98 | Camouflage Pattern/Shroud/Masking/Veil | Jäger/von Schlieffen | The Kaiser |
| SMLE MKIII | Camouflage Pattern/Shroud/Masking/Veil | Lone Pine/Jericho | The Black Watch |
| Gewehr M.95 | Veteran Soldier/Guard/Infantry/Cavalry | Galícia/Ruck-zu-ruck | The Edelweiss |
| M1903 | Veteran Soldier/Guard/Infantry/Cavalry | Bellau Wood/Marine | The Devil Dog |
| Martini-Henry | Royal Decree/Edict/Order/Statue | Zulu/Kilimanjaro | The Massoko |
| Lebel Model 1886 | House of Valois/Lancaster/Bourbon/Bonaparte | Chemin des Dames/Poincaré | Le Poilu |
| Total Single-shot Rifle skins: 49+2 extra | 28 | 14 | 7 |
- Desert Dweller for the Russian 1895 - You get this skin if you finish the War Story 'Nothing is Written' and complete all codex entries (including collecting all field manuals)
- Lawrence of Arabia's SMLE MKIII - You get this skin if you own the Deluxe Edition of the game
6. Universal Secondaries
| Universal Secondaries | Special Skins | Distinguished Skins | Legendary Skins |
|---|---|---|---|
| M1911 | Veteran Soldier/Guard/Infantry/Cavalry | Protector/York/Package from Home | The Man Stopper/The Care Package |
| P08 | Veteran Soldier/Guard/Infantry/Cavalry | Werner Voss/Count Gneisenau | The Peace Seeker |
| MLE 1903 | Royal Decree/Edict/Order/Statue | Charlatan/Bruiser | The Swede |
| C93 | Royal Decree/Edict/Order/Statue | Spion Kop/Marauder | The General |
| No. 3 Revolver | Royal Decree/Edict/Order/Statue | Achi Baba/Hitman | The Legionnaire |
| Kolibri | Royal Decree/Edict/Order/Statue | Savior/Mata Hari | The Hummingbird |
| Total Universal Secondary skins: 46+4 extra | 24 | 13 | 7 |
- Hellfighter M1911 - You get this skin if you pre-ordered the game
- Doughboy M1911 - You get this skin if you own the Collector's Edition of the game
- Red Baron's P08 - You get this skin if you own the Deluxe Edition of the game
- The Incareator for the M1911 - You can get this skin by completing the given requirements during a Battlefest
7. Class-specific Secondaries
- His Lordship for the C96 - You get this skin if you finish the War Story 'Through Mud and Blood' and complete all codex entries (including collecting all field manuals)
- Straight Flush for the Auto Revolver - You get this skin if you finish the War Story 'Friends in High Places' and complete all codex entries (including collecting all field manuals)
- Frontiersman for the Howdah Pistol - You get this skin if you finish the War Story 'The Runner' and complete all codex entries (including collecting all field manuals)
8. Tanks
- Beutepazer Wagen for the Landship - Basic skin, everyone's got it
- Mephisto for the Heavy Tank - Basic skin, everyone's got it
- Beutepanzer FT for the Light Tank - Basic skin, everyone's got it
- Beutepanzer for the Artillery Truck - Basic skin, everyone's got it
- Couleur d'Usine for the Assault Tank - Basic skin, everyone who owns They Shall Not Pass has got it
- Flying Scottsman and M1917 USA for the Landship - You get these skins at Tanker class rank 10
- Wotan and Faust for the Heavy Tank - You get these skins at Tanker class rank 10
- Factory Gray and M1917 USA for the Light Tank - You get these skins at Tanker class rank 10
- Factory Gray and RMA Camouflage](http://imgur.com/0Ul78VR) for the Artillery Truck - You get these skins at Tanker class rank 10
- Black Bess for the Landship - You get this skin if you finish the campaign on any difficulty while completing all codex entries and collecting all field manuals
- DICE for the Landship, Heavy Tank, Light Tank, Artillery Truck, Assault Tank - This skin is only available for DICE developers
9. Planes
| Planes | Distinguished Skins |
|---|---|
| Attack Plane | Red Hawk/Yellow Belly/Red Dazzle/Rose Gold/The Crocodile/Black and White |
| Bomber | Red Tail Hawk/Orange and White/Pink Lady/Pattern Black/USA/Dazzle |
| Fighter | Red Hawk/Black Falcon/Yellow Circus/Bumble Bee/La Triple-Entente/Garnie |
| Total Plane skins: 18+13 extra | 18 |
- Clear Skies for the Attack Plane - Basic skin, everyone's got it
- Green White for the Bomber - Basic skin, everyone's got it
- Blue Skies for the Fighter - Basoc skin, everyone's got it
- Green Machine and White and Blue for the Attack Plane - You get these skins at Pilot class rank 10
- Night Bomber and Blue Stripes for the Bomber - You get these skins at Pilot class rank 10
- Night Fighter and Woodland Raider for the Fighter - You get these skins at Pilot class rank 10
- Red Baron for the Fighter - You get this skin if you own the Deluxe Edition of the game
- Dice for the Attack Plane, Bomber, Fighter - This skin is only available for DICE developers
| Number of all skins | Number of skins for all weapons | Number of skins for all vehicles | Number of skins for all tanks | Number of skins for all planes | Number of skins for all primary weapons | Number of skins for all secondary weapons |
|---|---|---|---|---|---|---|
| 443 | 346 | 97 | 66 | 31 | 209 | 137 |
2016.07.29 20:08 phoes117 [Help] My new PC might not be as "cool" as i thought
Hi everyone, I'm not sure if I'm allowed to post this here, but I just want an opinion. 8 months ago i purchased a gaming PC from megaport. It's pre-assembled and everything was fine. It is still fine, but I've been hearing some cracking noises coming from my CPU fan (Arctic 11 GT Rev.2). It lasts a bit but then it stops. So i casually got Speccy, to see what my temperatures were and there i found the truth. My CPU was 97° while i was playing Guild Wars 2 (max settings) + Skype call with webcam. Is this normal? I live in a room with 30°, its very hot in here. My case is Z9 U3 with 2 fans, one back, one on the front.
What do I need to do? is this a minor problem, should i send my pc back or it's something i can do on my own?
Thank you so much for listening.
EDIT: my specs here: Intel Core i7 4790K @ 4.00GHz - Gigabyte Technology Co. Ltd. H97-HD3 - NVIDIA GeForce GTX 980 - 16GB RAM
EDIT2: This are my temperatures with my PC in idle, just having Chrome open. http://imgur.com/QR8dKoc
submitted by phoes117 to pcmasterrace [link] [comments]
What do I need to do? is this a minor problem, should i send my pc back or it's something i can do on my own?
Thank you so much for listening.
EDIT: my specs here: Intel Core i7 4790K @ 4.00GHz - Gigabyte Technology Co. Ltd. H97-HD3 - NVIDIA GeForce GTX 980 - 16GB RAM
EDIT2: This are my temperatures with my PC in idle, just having Chrome open. http://imgur.com/QR8dKoc
2015.01.14 01:46 cw12788 Four month's worth of disco discovery
Four months ago I posted 'A year's worth of disco discovery...' (www.reddit.com/Disco/comments/2eo57x/a_years_worth_of_disco_discovery/), and it seemed to go down pretty well.
Since then, I've come across a load more fantastic disco tracks both mainstream and less-so, and I thought I might as well share them. I know a lot of readers will probably recognise some of these tracks, but hopefully there's some here that you haven't heard!
Enjoy!
P.S. Below the asterixes at the bottom I've copied in the tracks from the post four months ago. P.P.S. I posted a few days ago asking if anyone know who Kon samples in 'No Mistake (Kon 2079 Mix)'. If anyone knows, please share!
Stayin' Alive - Bee Gees
More Than a Woman - Bee Gees
Just Chillin' Out - Bernard Wright
Master Rocker - Bernard Wright
Nights (Feel Like Gettin' Down)
You Got What It Takes - Bobby Thurston
Sage Comme Une Image (Spiller Remix) - Bottin feat. Jupiter
100% - Caprice
Art Star - Catcall
Hold Tight - Change
Hold Tight - Change (Shook remix)
Don't Wait Another Night - Change
On Top - Change
I Want You (All Tonight) - Curtis Hairston
Shave a Pair - Deadly Sins
Keep on Movin' - Deodato
Flip da Beat (Greg Wilson edit) - Ed Wizard & Disco Double Dee
Contact - Edwin Starr
Reach Out - George Duke
Dancer - Gino Soccio
Dancer (Bambi & Gazeebo edit) - Gino Soccio
Try it Out - Gino Soccio
It Should Have Been You - Gwen Guthrie
Keep the Fire Burning - Gwen McCrae
Body Work - Hot Streak
Secret Sunday Lover (Greg Wilson edit) - Ignition
Heart 'n' Soul - Imagination
First True Love Affair - Jimmy Ross
Let's Do It - Kadenza
Let's Do It (Gazeebo edit) - Kadenza
I Just Gotta Have You (Lover Turn Me On) - Kashif
Stone Love - Kashif
Promised Land (KON edit) - Melba Moore
One Nite in a Disco - Late Nite Tuff Guy
Bite the Dust - Late Nite Tuff Guy
Do I Believe in God - Late Nite Tuff Guy
Feelin' Good - Late Nite Tuff Guy
Shine On - Late Nite Tuff Guy
Wonderland - Late Nite Tuff Guy
I've Been Searching - Linda Evans
Funkytown (Gazeebo edit) - Lipps Inc
Substitute - Liquid Gold
Never Too Much - Luther Vandross
All Night Long - Mary Jane Girls
Tribute (to the soul we lost) - Moodyman
One Nite in the Disco - Moodyman
A Little Bit of Jazz - The Nick Straker Band
Haven't You Heard - Patrice Rushen
Haven't You Heard (Joey Negro remix)
Turn the Music Up - Players Association
The Closer I Get to You - Players Association
Free and Easy - Plush
Request Line - Rock Master Scott and The Dynamic Three
I'll Be a Freak For You - Royalle Delite
Take Your Time (Do it Right)
Never Give You Up - Sharon Redd
Rescue Me - Sybil Thomas
Funkin' for Jamacia - Tom Browne
Thighs High (Grip Your Hips and Move)
Use Me (Again and Again)
Time is the Master (Tom Trago edit) - Gladys Knight & The Pips
This Beat is Mine - Vicky D
Act Like You Know - Fat Larry's Band
Love Sensation - Loletta Holloway
You Should Do It - Peter Brown
Burning Love Breakdown - Peter Brown
I'm Just a Sucker For Your Love - Teena Marie
Play That Funky Music - Wild Cherry
Teadrops - Womack and Womack
I Wanna Get With You - Ritz
You Can't Hide (Your Love From Me)
Take Me To the Top - Advance
Don't Let Go of Me - Mike and Brenda Sutton
You Don't Care (About Our Love) - China Burton
Keep on Movin' and Groovin' - Atantis
I Didn't Mean to Turn You On - Cherrelle
Let's Do It - Convertion
Can't Hold Back (Your Loving) - Kano
Move It, Do It - Syreeta
Groovy Ghost Show - Casper
Breakloose - The Younger Generation
Disco Nights - GQ
He's Number One - Fantasy
Don't Stop - K.I.D
You're the One For Me - D Train
Love's Comin' At Ya - Melba Moore
Saturday love - Alexander O'Neal & Cherrelle
Fate - Chaka Khan
Gimme the Funk - Charades
She Can't Love You - Chemise
Got To Be Real - Cheryl Lynn
I Want Your Love - Chic
Everybody Dance - Chic
Good Times - Chic
Good Times - Chic (Cold Duck remix) (seems to have disappeared from soundcloud...)
Dance Dance Dance (Yowsah Yowsah Yowsah) - Chic
Le Freak - Chic
My Feet Keep Dancing - Chic
Think It Over - Cissy Houston
Spacer - Sheiler and Black Devotion
Spacer - Sheiler and Black Devotion (Cold Duck remix) (also seems to have disappeared from soundcloud annoyingly...)
Dance Lady Dance
Upside Down - Diana Ross
Upside Down - Diana Ross (The Tailors DJ remix)
It's My House - Diana Ross
Bad Girls - Donna Summer
I Feel Love - Donna Summer
Love Is In Control (Finger on the Trigger) - Donna Summer
Dyin' To Be Dancin' - Empress
Shame - Evelyn 'Champagne' King
Love Come Down - Evelyn 'Champagne' King
Foreign Language - Flight Facilities (my favourite disco track)
There's Talking - Gene Dunlap
Changes - Imagination
New Dimension (Electro Mix) - Imagination
Last Night A DJ Saved My Life - Indeep
Feel Alright - Komiko
Get Down On It - Kool & the Gang
Get Down On It - Kool & the Gang (Rocco Raimundo edit)
You're the Kind of Girl I Like - Kwick
Hihache - The Lafayette Afro Rock Band
Dancing Into the Stars - Logg
Here Comes That Sound Again - Love De Luxe
Here Comes That Sound Again - Love De Luxe (Breakbot remix)
Party Light - Munich Machine
Feels So Real - Patrice Rushen
Gotta Find It - Patrice Rushen
Get Off - Patrice Rushen
Keep in Touch (Body to Body) - The Shades of Love
Thinking of You - Sister Sledge
Thinking of You (Dimitri From Paris remix) - Sister Sledge
He Wants My Body - Starpoint
Falling in Love - Surface (my second favourite disco track)
I Wanna Be Your Lover - SvanSikh
Infatuation - Up Front
The Beat Goes On - The Whispers
The Beat Goes On - The Whispers (The Tailors DJ remix)
Bon Bon Vie - T.S. Monk
Love Hangover - Players Association
Ride the Groove - Players Association
Knockout - Margie Joseph
Still Love You - Vanilla
Temptations - Cloud Nine (FKJ remix)
I'm A Wonderful Thing Baby - Kid Creole and the Coconuts
Wordy Rappinghood - Tom Tom Club
Genius of Love - Tom Tom Club
Ride on Time - Black Box
Body & Soul - Mai Tai
Crush on You - The Jets
Let's Groove - Earth, Wind and Fire
Boogie Wonderland - Earth, Wind and Fire
September - Earth, Wind and Fire
Dance With Me - Peter Brown
Can't Shake Your Love - Syreeta
Don't Stop 'Til You Get Enough - Michael Jackson
Don't Stop 'Til You Get Enough (Gigamesh remix)
Stayin' Alive (Stereocool 'To The Death' remix)
Inspector Norse - Todd Terje
Rhythm of the Night (Blonde Version) - Corona
Where You Belong - The Groovers
Straight Up - Ed Wizard & Disco Double Dee
Just Havin' Fun (Lac's edit) - Ray Parker Jr. (disappeared from Soundcloud...)
Groove Control - Dynasty
I Like It - Intrigue
No Turning Back - Intrigue
Give Me The Night (Chrome Canyon edit) - George Benson
submitted by cw12788 to NuDisco [link] [comments]
Since then, I've come across a load more fantastic disco tracks both mainstream and less-so, and I thought I might as well share them. I know a lot of readers will probably recognise some of these tracks, but hopefully there's some here that you haven't heard!
Enjoy!
P.S. Below the asterixes at the bottom I've copied in the tracks from the post four months ago. P.P.S. I posted a few days ago asking if anyone know who Kon samples in 'No Mistake (Kon 2079 Mix)'. If anyone knows, please share!
More Than a Woman - Bee Gees
Just Chillin' Out - Bernard Wright
Master Rocker - Bernard Wright
Nights (Feel Like Gettin' Down)
You Got What It Takes - Bobby Thurston
Sage Comme Une Image (Spiller Remix) - Bottin feat. Jupiter
100% - Caprice
Art Star - Catcall
Hold Tight - Change
Hold Tight - Change (Shook remix)
Don't Wait Another Night - Change
On Top - Change
I Want You (All Tonight) - Curtis Hairston
Shave a Pair - Deadly Sins
Keep on Movin' - Deodato
Flip da Beat (Greg Wilson edit) - Ed Wizard & Disco Double Dee
Contact - Edwin Starr
Reach Out - George Duke
Dancer - Gino Soccio
Dancer (Bambi & Gazeebo edit) - Gino Soccio
Try it Out - Gino Soccio
It Should Have Been You - Gwen Guthrie
Keep the Fire Burning - Gwen McCrae
Body Work - Hot Streak
Secret Sunday Lover (Greg Wilson edit) - Ignition
Heart 'n' Soul - Imagination
First True Love Affair - Jimmy Ross
Let's Do It - Kadenza
Let's Do It (Gazeebo edit) - Kadenza
I Just Gotta Have You (Lover Turn Me On) - Kashif
Stone Love - Kashif
Promised Land (KON edit) - Melba Moore
One Nite in a Disco - Late Nite Tuff Guy
Bite the Dust - Late Nite Tuff Guy
Do I Believe in God - Late Nite Tuff Guy
Feelin' Good - Late Nite Tuff Guy
Shine On - Late Nite Tuff Guy
Wonderland - Late Nite Tuff Guy
I've Been Searching - Linda Evans
Funkytown (Gazeebo edit) - Lipps Inc
Substitute - Liquid Gold
Never Too Much - Luther Vandross
All Night Long - Mary Jane Girls
Tribute (to the soul we lost) - Moodyman
One Nite in the Disco - Moodyman
A Little Bit of Jazz - The Nick Straker Band
Haven't You Heard - Patrice Rushen
Haven't You Heard (Joey Negro remix)
Turn the Music Up - Players Association
The Closer I Get to You - Players Association
Free and Easy - Plush
Request Line - Rock Master Scott and The Dynamic Three
I'll Be a Freak For You - Royalle Delite
Take Your Time (Do it Right)
Never Give You Up - Sharon Redd
Rescue Me - Sybil Thomas
Funkin' for Jamacia - Tom Browne
Thighs High (Grip Your Hips and Move)
Use Me (Again and Again)
Time is the Master (Tom Trago edit) - Gladys Knight & The Pips
This Beat is Mine - Vicky D
Act Like You Know - Fat Larry's Band
Love Sensation - Loletta Holloway
You Should Do It - Peter Brown
Burning Love Breakdown - Peter Brown
I'm Just a Sucker For Your Love - Teena Marie
Play That Funky Music - Wild Cherry
Teadrops - Womack and Womack
I Wanna Get With You - Ritz
You Can't Hide (Your Love From Me)
Take Me To the Top - Advance
Don't Let Go of Me - Mike and Brenda Sutton
You Don't Care (About Our Love) - China Burton
Keep on Movin' and Groovin' - Atantis
I Didn't Mean to Turn You On - Cherrelle
Let's Do It - Convertion
Can't Hold Back (Your Loving) - Kano
Move It, Do It - Syreeta
Groovy Ghost Show - Casper
Breakloose - The Younger Generation
Disco Nights - GQ
He's Number One - Fantasy
Don't Stop - K.I.D
You're the One For Me - D Train
Love's Comin' At Ya - Melba Moore
Fate - Chaka Khan
Gimme the Funk - Charades
She Can't Love You - Chemise
Got To Be Real - Cheryl Lynn
I Want Your Love - Chic
Everybody Dance - Chic
Good Times - Chic
Good Times - Chic (Cold Duck remix) (seems to have disappeared from soundcloud...)
Dance Dance Dance (Yowsah Yowsah Yowsah) - Chic
Le Freak - Chic
My Feet Keep Dancing - Chic
Think It Over - Cissy Houston
Spacer - Sheiler and Black Devotion
Spacer - Sheiler and Black Devotion (Cold Duck remix) (also seems to have disappeared from soundcloud annoyingly...)
Dance Lady Dance
Upside Down - Diana Ross
Upside Down - Diana Ross (The Tailors DJ remix)
It's My House - Diana Ross
Bad Girls - Donna Summer
I Feel Love - Donna Summer
Love Is In Control (Finger on the Trigger) - Donna Summer
Dyin' To Be Dancin' - Empress
Shame - Evelyn 'Champagne' King
Love Come Down - Evelyn 'Champagne' King
Foreign Language - Flight Facilities (my favourite disco track)
There's Talking - Gene Dunlap
Changes - Imagination
New Dimension (Electro Mix) - Imagination
Last Night A DJ Saved My Life - Indeep
Feel Alright - Komiko
Get Down On It - Kool & the Gang
Get Down On It - Kool & the Gang (Rocco Raimundo edit)
You're the Kind of Girl I Like - Kwick
Hihache - The Lafayette Afro Rock Band
Dancing Into the Stars - Logg
Here Comes That Sound Again - Love De Luxe
Here Comes That Sound Again - Love De Luxe (Breakbot remix)
Party Light - Munich Machine
Feels So Real - Patrice Rushen
Gotta Find It - Patrice Rushen
Get Off - Patrice Rushen
Keep in Touch (Body to Body) - The Shades of Love
Thinking of You - Sister Sledge
Thinking of You (Dimitri From Paris remix) - Sister Sledge
He Wants My Body - Starpoint
Falling in Love - Surface (my second favourite disco track)
I Wanna Be Your Lover - SvanSikh
Infatuation - Up Front
The Beat Goes On - The Whispers
The Beat Goes On - The Whispers (The Tailors DJ remix)
Bon Bon Vie - T.S. Monk
Love Hangover - Players Association
Ride the Groove - Players Association
Knockout - Margie Joseph
Still Love You - Vanilla
Temptations - Cloud Nine (FKJ remix)
I'm A Wonderful Thing Baby - Kid Creole and the Coconuts
Wordy Rappinghood - Tom Tom Club
Genius of Love - Tom Tom Club
Ride on Time - Black Box
Body & Soul - Mai Tai
Crush on You - The Jets
Let's Groove - Earth, Wind and Fire
Boogie Wonderland - Earth, Wind and Fire
September - Earth, Wind and Fire
Dance With Me - Peter Brown
Can't Shake Your Love - Syreeta
Don't Stop 'Til You Get Enough - Michael Jackson
Don't Stop 'Til You Get Enough (Gigamesh remix)
Stayin' Alive (Stereocool 'To The Death' remix)
Inspector Norse - Todd Terje
Rhythm of the Night (Blonde Version) - Corona
Where You Belong - The Groovers
Straight Up - Ed Wizard & Disco Double Dee
Just Havin' Fun (Lac's edit) - Ray Parker Jr. (disappeared from Soundcloud...)
Groove Control - Dynasty
I Like It - Intrigue
No Turning Back - Intrigue
Give Me The Night (Chrome Canyon edit) - George Benson
2015.01.13 19:52 cw12788 Four month's worth of disco discovery
Four months ago I posted 'A year's worth of disco discovery...' (www.reddit.com/Disco/comments/2eo57x/a_years_worth_of_disco_discovery/), and it seemed to go down pretty well.
Since then, I've come across a load more fantastic disco tracks both mainstream and less-so, and I thought I might as well share them. I know a lot of readers will probably recognise some of these tracks, but hopefully there's some here that you haven't heard!
Enjoy!
P.S. Below the asterixes at the bottom I've copied in the tracks from the post four months ago. P.P.S. I posted a few days ago asking if anyone know who Kon samples in 'No Mistake (Kon 2079 Mix)'. If anyone knows, please share!
Stayin' Alive - Bee Gees
More Than a Woman - Bee Gees
Just Chillin' Out - Bernard Wright
Master Rocker - Bernard Wright
Nights (Feel Like Gettin' Down)
You Got What It Takes - Bobby Thurston
Sage Comme Une Image (Spiller Remix) - Bottin feat. Jupiter
100% - Caprice
Art Star - Catcall
Hold Tight - Change
Hold Tight - Change (Shook remix)
Don't Wait Another Night - Change
On Top - Change
I Want You (All Tonight) - Curtis Hairston
Shave a Pair - Deadly Sins
Keep on Movin' - Deodato
Flip da Beat (Greg Wilson edit) - Ed Wizard & Disco Double Dee
Contact - Edwin Starr
Reach Out - George Duke
Dancer - Gino Soccio
Dancer (Bambi & Gazeebo edit) - Gino Soccio
Try it Out - Gino Soccio
It Should Have Been You - Gwen Guthrie
Keep the Fire Burning - Gwen McCrae
Body Work - Hot Streak
Secret Sunday Lover (Greg Wilson edit) - Ignition
Heart 'n' Soul - Imagination
First True Love Affair - Jimmy Ross
Let's Do It - Kadenza
Let's Do It (Gazeebo edit) - Kadenza
I Just Gotta Have You (Lover Turn Me On) - Kashif
Stone Love - Kashif
Promised Land (KON edit) - Melba Moore
One Nite in a Disco - Late Nite Tuff Guy
Bite the Dust - Late Nite Tuff Guy
Do I Believe in God - Late Nite Tuff Guy
Feelin' Good - Late Nite Tuff Guy
Shine On - Late Nite Tuff Guy
Wonderland - Late Nite Tuff Guy
I've Been Searching - Linda Evans
Funkytown (Gazeebo edit) - Lipps Inc
Substitute - Liquid Gold
Never Too Much - Luther Vandross
All Night Long - Mary Jane Girls
Tribute (to the soul we lost) - Moodyman
One Nite in the Disco - Moodyman
A Little Bit of Jazz - The Nick Straker Band
Haven't You Heard - Patrice Rushen
Haven't You Heard (Joey Negro remix)
Turn the Music Up - Players Association
The Closer I Get to You - Players Association
Free and Easy - Plush
Request Line - Rock Master Scott and The Dynamic Three
I'll Be a Freak For You - Royalle Delite
Take Your Time (Do it Right)
Never Give You Up - Sharon Redd
Rescue Me - Sybil Thomas
Funkin' for Jamacia - Tom Browne
Thighs High (Grip Your Hips and Move)
Use Me (Again and Again)
Time is the Master (Tom Trago edit) - Gladys Knight & The Pips
This Beat is Mine - Vicky D
Act Like You Know - Fat Larry's Band
Love Sensation - Loletta Holloway
You Should Do It - Peter Brown
Burning Love Breakdown - Peter Brown
I'm Just a Sucker For Your Love - Teena Marie
Play That Funky Music - Wild Cherry
Teadrops - Womack and Womack
I Wanna Get With You - Ritz
You Can't Hide (Your Love From Me)
Take Me To the Top - Advance
Don't Let Go of Me - Mike and Brenda Sutton
You Don't Care (About Our Love) - China Burton
Keep on Movin' and Groovin' - Atantis
I Didn't Mean to Turn You On - Cherrelle
Let's Do It - Convertion
Can't Hold Back (Your Loving) - Kano
Move It, Do It - Syreeta
Groovy Ghost Show - Casper
Breakloose - The Younger Generation
Disco Nights - GQ
He's Number One - Fantasy
Don't Stop - K.I.D
You're the One For Me - D Train
Love's Comin' At Ya - Melba Moore
Saturday love - Alexander O'Neal & Cherrelle
Fate - Chaka Khan
Gimme the Funk - Charades
She Can't Love You - Chemise
Got To Be Real - Cheryl Lynn
I Want Your Love - Chic
Everybody Dance - Chic
Good Times - Chic
Good Times - Chic (Cold Duck remix) (seems to have disappeared from soundcloud...)
Dance Dance Dance (Yowsah Yowsah Yowsah) - Chic
Le Freak - Chic
My Feet Keep Dancing - Chic
Think It Over - Cissy Houston
Spacer - Sheiler and Black Devotion
Spacer - Sheiler and Black Devotion (Cold Duck remix) (also seems to have disappeared from soundcloud annoyingly...)
Dance Lady Dance
Upside Down - Diana Ross
Upside Down - Diana Ross (The Tailors DJ remix)
It's My House - Diana Ross
Bad Girls - Donna Summer
I Feel Love - Donna Summer
Love Is In Control (Finger on the Trigger) - Donna Summer
Dyin' To Be Dancin' - Empress
Shame - Evelyn 'Champagne' King
Love Come Down - Evelyn 'Champagne' King
Foreign Language - Flight Facilities (my favourite disco track)
There's Talking - Gene Dunlap
Changes - Imagination
New Dimension (Electro Mix) - Imagination
Last Night A DJ Saved My Life - Indeep
Feel Alright - Komiko
Get Down On It - Kool & the Gang
Get Down On It - Kool & the Gang (Rocco Raimundo edit)
You're the Kind of Girl I Like - Kwick
Hihache - The Lafayette Afro Rock Band
Dancing Into the Stars - Logg
Here Comes That Sound Again - Love De Luxe
Here Comes That Sound Again - Love De Luxe (Breakbot remix)
Party Light - Munich Machine
Feels So Real - Patrice Rushen
Gotta Find It - Patrice Rushen
Get Off - Patrice Rushen
Keep in Touch (Body to Body) - The Shades of Love
Thinking of You - Sister Sledge
Thinking of You (Dimitri From Paris remix) - Sister Sledge
He Wants My Body - Starpoint
Falling in Love - Surface (my second favourite disco track)
I Wanna Be Your Lover - SvanSikh
Infatuation - Up Front
The Beat Goes On - The Whispers
The Beat Goes On - The Whispers (The Tailors DJ remix)
Bon Bon Vie - T.S. Monk
Love Hangover - Players Association
Ride the Groove - Players Association
Knockout - Margie Joseph
Still Love You - Vanilla
Temptations - Cloud Nine (FKJ remix)
I'm A Wonderful Thing Baby - Kid Creole and the Coconuts
Wordy Rappinghood - Tom Tom Club
Genius of Love - Tom Tom Club
Ride on Time - Black Box
Body & Soul - Mai Tai
Crush on You - The Jets
Let's Groove - Earth, Wind and Fire
Boogie Wonderland - Earth, Wind and Fire
September - Earth, Wind and Fire
Dance With Me - Peter Brown
Can't Shake Your Love - Syreeta
Don't Stop 'Til You Get Enough - Michael Jackson
Don't Stop 'Til You Get Enough (Gigamesh remix)
Stayin' Alive (Stereocool 'To The Death' remix)
Inspector Norse - Todd Terje
Rhythm of the Night (Blonde Version) - Corona
Where You Belong - The Groovers
Straight Up - Ed Wizard & Disco Double Dee
Just Havin' Fun (Lac's edit) - Ray Parker Jr. (disappeared from Soundcloud...)
Groove Control - Dynasty
I Like It - Intrigue
No Turning Back - Intrigue
Give Me The Night (Chrome Canyon edit) - George Benson
submitted by cw12788 to Disco [link] [comments]
Since then, I've come across a load more fantastic disco tracks both mainstream and less-so, and I thought I might as well share them. I know a lot of readers will probably recognise some of these tracks, but hopefully there's some here that you haven't heard!
Enjoy!
P.S. Below the asterixes at the bottom I've copied in the tracks from the post four months ago. P.P.S. I posted a few days ago asking if anyone know who Kon samples in 'No Mistake (Kon 2079 Mix)'. If anyone knows, please share!
More Than a Woman - Bee Gees
Just Chillin' Out - Bernard Wright
Master Rocker - Bernard Wright
Nights (Feel Like Gettin' Down)
You Got What It Takes - Bobby Thurston
Sage Comme Une Image (Spiller Remix) - Bottin feat. Jupiter
100% - Caprice
Art Star - Catcall
Hold Tight - Change
Hold Tight - Change (Shook remix)
Don't Wait Another Night - Change
On Top - Change
I Want You (All Tonight) - Curtis Hairston
Shave a Pair - Deadly Sins
Keep on Movin' - Deodato
Flip da Beat (Greg Wilson edit) - Ed Wizard & Disco Double Dee
Contact - Edwin Starr
Reach Out - George Duke
Dancer - Gino Soccio
Dancer (Bambi & Gazeebo edit) - Gino Soccio
Try it Out - Gino Soccio
It Should Have Been You - Gwen Guthrie
Keep the Fire Burning - Gwen McCrae
Body Work - Hot Streak
Secret Sunday Lover (Greg Wilson edit) - Ignition
Heart 'n' Soul - Imagination
First True Love Affair - Jimmy Ross
Let's Do It - Kadenza
Let's Do It (Gazeebo edit) - Kadenza
I Just Gotta Have You (Lover Turn Me On) - Kashif
Stone Love - Kashif
Promised Land (KON edit) - Melba Moore
One Nite in a Disco - Late Nite Tuff Guy
Bite the Dust - Late Nite Tuff Guy
Do I Believe in God - Late Nite Tuff Guy
Feelin' Good - Late Nite Tuff Guy
Shine On - Late Nite Tuff Guy
Wonderland - Late Nite Tuff Guy
I've Been Searching - Linda Evans
Funkytown (Gazeebo edit) - Lipps Inc
Substitute - Liquid Gold
Never Too Much - Luther Vandross
All Night Long - Mary Jane Girls
Tribute (to the soul we lost) - Moodyman
One Nite in the Disco - Moodyman
A Little Bit of Jazz - The Nick Straker Band
Haven't You Heard - Patrice Rushen
Haven't You Heard (Joey Negro remix)
Turn the Music Up - Players Association
The Closer I Get to You - Players Association
Free and Easy - Plush
Request Line - Rock Master Scott and The Dynamic Three
I'll Be a Freak For You - Royalle Delite
Take Your Time (Do it Right)
Never Give You Up - Sharon Redd
Rescue Me - Sybil Thomas
Funkin' for Jamacia - Tom Browne
Thighs High (Grip Your Hips and Move)
Use Me (Again and Again)
Time is the Master (Tom Trago edit) - Gladys Knight & The Pips
This Beat is Mine - Vicky D
Act Like You Know - Fat Larry's Band
Love Sensation - Loletta Holloway
You Should Do It - Peter Brown
Burning Love Breakdown - Peter Brown
I'm Just a Sucker For Your Love - Teena Marie
Play That Funky Music - Wild Cherry
Teadrops - Womack and Womack
I Wanna Get With You - Ritz
You Can't Hide (Your Love From Me)
Take Me To the Top - Advance
Don't Let Go of Me - Mike and Brenda Sutton
You Don't Care (About Our Love) - China Burton
Keep on Movin' and Groovin' - Atantis
I Didn't Mean to Turn You On - Cherrelle
Let's Do It - Convertion
Can't Hold Back (Your Loving) - Kano
Move It, Do It - Syreeta
Groovy Ghost Show - Casper
Breakloose - The Younger Generation
Disco Nights - GQ
He's Number One - Fantasy
Don't Stop - K.I.D
You're the One For Me - D Train
Love's Comin' At Ya - Melba Moore
Fate - Chaka Khan
Gimme the Funk - Charades
She Can't Love You - Chemise
Got To Be Real - Cheryl Lynn
I Want Your Love - Chic
Everybody Dance - Chic
Good Times - Chic
Good Times - Chic (Cold Duck remix) (seems to have disappeared from soundcloud...)
Dance Dance Dance (Yowsah Yowsah Yowsah) - Chic
Le Freak - Chic
My Feet Keep Dancing - Chic
Think It Over - Cissy Houston
Spacer - Sheiler and Black Devotion
Spacer - Sheiler and Black Devotion (Cold Duck remix) (also seems to have disappeared from soundcloud annoyingly...)
Dance Lady Dance
Upside Down - Diana Ross
Upside Down - Diana Ross (The Tailors DJ remix)
It's My House - Diana Ross
Bad Girls - Donna Summer
I Feel Love - Donna Summer
Love Is In Control (Finger on the Trigger) - Donna Summer
Dyin' To Be Dancin' - Empress
Shame - Evelyn 'Champagne' King
Love Come Down - Evelyn 'Champagne' King
Foreign Language - Flight Facilities (my favourite disco track)
There's Talking - Gene Dunlap
Changes - Imagination
New Dimension (Electro Mix) - Imagination
Last Night A DJ Saved My Life - Indeep
Feel Alright - Komiko
Get Down On It - Kool & the Gang
Get Down On It - Kool & the Gang (Rocco Raimundo edit)
You're the Kind of Girl I Like - Kwick
Hihache - The Lafayette Afro Rock Band
Dancing Into the Stars - Logg
Here Comes That Sound Again - Love De Luxe
Here Comes That Sound Again - Love De Luxe (Breakbot remix)
Party Light - Munich Machine
Feels So Real - Patrice Rushen
Gotta Find It - Patrice Rushen
Get Off - Patrice Rushen
Keep in Touch (Body to Body) - The Shades of Love
Thinking of You - Sister Sledge
Thinking of You (Dimitri From Paris remix) - Sister Sledge
He Wants My Body - Starpoint
Falling in Love - Surface (my second favourite disco track)
I Wanna Be Your Lover - SvanSikh
Infatuation - Up Front
The Beat Goes On - The Whispers
The Beat Goes On - The Whispers (The Tailors DJ remix)
Bon Bon Vie - T.S. Monk
Love Hangover - Players Association
Ride the Groove - Players Association
Knockout - Margie Joseph
Still Love You - Vanilla
Temptations - Cloud Nine (FKJ remix)
I'm A Wonderful Thing Baby - Kid Creole and the Coconuts
Wordy Rappinghood - Tom Tom Club
Genius of Love - Tom Tom Club
Ride on Time - Black Box
Body & Soul - Mai Tai
Crush on You - The Jets
Let's Groove - Earth, Wind and Fire
Boogie Wonderland - Earth, Wind and Fire
September - Earth, Wind and Fire
Dance With Me - Peter Brown
Can't Shake Your Love - Syreeta
Don't Stop 'Til You Get Enough - Michael Jackson
Don't Stop 'Til You Get Enough (Gigamesh remix)
Stayin' Alive (Stereocool 'To The Death' remix)
Inspector Norse - Todd Terje
Rhythm of the Night (Blonde Version) - Corona
Where You Belong - The Groovers
Straight Up - Ed Wizard & Disco Double Dee
Just Havin' Fun (Lac's edit) - Ray Parker Jr. (disappeared from Soundcloud...)
Groove Control - Dynasty
I Like It - Intrigue
No Turning Back - Intrigue
Give Me The Night (Chrome Canyon edit) - George Benson
2012.12.12 04:10 ParanoidAndroids 12/11 Saku Suurhall, Tallinn, Estonia Tour Thread [Setlist Recap, Media, Discussion]
Hello everyone! Hope your day is going well.
Today we continue the second leg!
[Setlist]
Another solid set. 22 songs seems to be the standard amount, and I doubt that'll change until the big Stadium Tour next year.
So, who was there tonight? Get any cool pictures or footage?
What did you think?
For those who weren't there: would you be satisfied/disappointed/elated with this set?
How did Matt seem on stage?
Bonus Question: Which of Dom's drum sets is your favorite? He has gone through a few iconic kits...the Full Chrome, the Clear Acrylic (the Tama days), the Full Gold (beginning of DW era), and then all the fancy finishes (silver and black designs, etc.)... Which one do you like the most?
submitted by ParanoidAndroids to Muse [link] [comments]
Today we continue the second leg!
[Setlist]
- Unsustainable
- Supremacy
- MOTP
- SMBH
- Resistance
- Panic Station
- Animals
- Monty Jam
- Explorers
- Falling Down
- TIRO
- Liquid State
- Madness
- Follow Me
- Undisclosed Desires
- Plug In Baby
- New Born
- Isolated System
- Uprising
- KoC (w/Man with a Harmonica intro)
- Starlight
- Survival
Another solid set. 22 songs seems to be the standard amount, and I doubt that'll change until the big Stadium Tour next year.
What did you think?
For those who weren't there: would you be satisfied/disappointed/elated with this set?
How did Matt seem on stage?