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unpluggedfinancial · 3 months ago

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A New Dawn: Transitioning to a Bitcoin Future

Money is not just a medium of exchange; it's a psychotechnology, as integral to human communication as language itself. Today, we're living in unprecedented times with the potential to peacefully transition to a new financial system growing right alongside the current one. In this post, we'll explore how Bitcoin is enabling this transformation and what it means for our future.

The Current Financial Landscape

The flaws and instability of the fiat currency system are becoming increasingly apparent. Inflation, excessive money printing, and economic uncertainty are driving individuals and institutions to seek alternatives. The traditional financial system, burdened by debt and centralization, is showing signs of strain. Over the past few years, central banks worldwide have printed unprecedented amounts of money to stimulate economies. This has led to inflation, eroding the purchasing power of savings and causing widespread financial insecurity. Governments and corporations are drowning in debt, and the centralized nature of the current financial system leaves it vulnerable to corruption and mismanagement. Global events, from pandemics to geopolitical tensions, add to the unpredictability of fiat currencies. Enter Bitcoin, a decentralized digital currency offering a new kind of financial freedom.

The Role of Bitcoin

Bitcoin is not just another financial asset; it's a revolutionary technology that grows alongside our existing financial system. Its decentralized nature, security, and limited supply make it a viable alternative to traditional currencies, promising stability and independence. Unlike traditional currencies controlled by central banks, Bitcoin operates on a decentralized network of computers, ensuring no single entity can manipulate its value. Bitcoin's blockchain technology provides unparalleled security, making it nearly impossible to counterfeit or manipulate. With a capped supply of 21 million bitcoins, Bitcoin is inherently deflationary, protecting against inflation and preserving value over time. Bitcoin offers a form of money that is transparent, secure, and resistant to the whims of central authorities.

Historical Context

Throughout history, major economic transitions have often been marked by turmoil and conflict. From the shift from barter to coinage to the adoption of paper money, each transition has reshaped society. However, for the first time, we have the opportunity to transition peacefully to a new system with Bitcoin. The move from barter systems to coinage revolutionized trade and economic interaction but was often accompanied by social upheaval. The adoption of paper money brought convenience but also led to centralization and control by governments. Now, in the digital age, Bitcoin represents the next step in the evolution of money, offering a decentralized and democratized form of value exchange. Unlike past transitions, Bitcoin's integration can be gradual and voluntary, allowing individuals and institutions to adopt it at their own pace.

The Peaceful Transition

Bitcoin offers a non-violent alternative to traditional financial upheaval. Its gradual adoption process allows people and institutions to adapt without the chaos that typically accompanies such transitions. This peaceful integration could pave the way for a more stable and equitable financial future. Bitcoin's adoption is growing organically, driven by individual choice and market forces rather than imposed by authorities. It can operate alongside existing financial systems, providing a safety net and alternative without causing immediate disruption. By giving individuals control over their own finances, Bitcoin empowers people to take charge of their economic future.

Real-World Examples

Consider the case of MicroStrategy, a company that has invested billions into Bitcoin, treating it as a core part of their strategy. Led by Michael Saylor, MicroStrategy has transformed its balance sheet by converting cash reserves into Bitcoin, demonstrating confidence in its long-term value. Government proposals, like those from Senator Cynthia Lummis, highlight the growing trust and interest in Bitcoin. Senator Lummis has proposed treating Bitcoin like gold, advocating for its inclusion in national reserves and regulatory frameworks. Influential figures such as Robert F. Kennedy Jr. and Donald Trump have spoken about Bitcoin's potential to revolutionize the financial system, adding legitimacy and interest from a broader audience. These examples illustrate the growing acceptance and integration of Bitcoin into mainstream financial and political discourse.

The Psychological Shift

Understanding and adopting Bitcoin can lead to a profound change in how we perceive value and money. My journey with Bitcoin has reshaped my mindset, providing a new perspective on financial freedom and stability. This psychological shift is as important as the technological and economic changes. Bitcoin challenges traditional notions of value, prompting us to rethink what money is and how it should function. Owning Bitcoin gives individuals direct control over their wealth, reducing reliance on banks and financial intermediaries. Learning about Bitcoin often leads to a deeper understanding of economics, monetary policy, and personal finance. Sharing my personal journey, from discovering Bitcoin to embracing its potential, highlights the transformative power of this technology.

Conclusion

We stand at the brink of a new era. The peaceful transition to a Bitcoin-based financial system is not just a possibility; it's a growing reality. By embracing this change, we can look forward to a more stable, secure, and equitable financial future. Bitcoin offers a path to financial independence and stability, free from the flaws of the fiat system. As more people and institutions recognize Bitcoin's potential, we can collectively work towards a better economic system.

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deadcactuswalking · 9 months ago

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REVIEWING THE CHARTS: 17/02/2024 (Beyoncé, VULTURES 1)

For a seventh week, Noah Kahan stays strong at #1 with “Stick Season” - but it’s Bey season and Ye season… no, those words don’t rhyme, and welcome back to REVIEWING THE CHARTS!

Rundown

Welp, as always, we start with our notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the top 75 and a peak in the top 40, and this week, we bid adieu to: “HISS” by Megan Thee Stallion (that was quick), “Gas Me Up (Diligent)” by Skepta, “Feather” by Sabrina Carpenter, “When We Were Young (The Logical Song)” by David Guetta and Kim Petras, “Surround Sound” by JID featuring 21 Savage and Yung Baby Tate, “Northern Attitude” by Noah Kahan, “Runaway” by Ye featuring Pusha T, “Can’t Catch Me Now” by Olivia Rodrigo, “Is it Over Now?” by Taylor Swift, “Black Friday” by Tom Odell, “Agora Hills” by Doja Cat, “My Love Mine All Mine” by Mitski and finally, “Baddadan” by Chase & Status and Bou featuring IRAH, Flowdan, Trigga and Takura. Yeah, bit of a bloodbath here.

You know, we actually have barely any returns or gains as a result of the influx of 13 new songs, so we have some vague post-GRAMMYs impact and that’s kind of all, with it mostly being in our returns - “Coal” by Dylan Gossett at #73 (probably not GRAMMYs), “FE!N” by Travis Scott featuring Playboi Carti at #71 and on a much more positive note, Tracy Chapman’s classic original version of “Fast Car” all the way at #38. It first charted at 1988 and peaked at #5 (when Glenn Madeiros’ schmaltzy “Nothing’s Gonna Change My Love For You” was #1) and then returned in 2011 and peaked at #4, when… “Party Rock Anthem” was #1. This won’t last or peak nearly as high, but it improves the net quality of the chart for the time it’s here. As for the gains, “Anti-Hero” by Taylor Swift at #57 and “Home” by Good Neighbours at #34. Yup.

As for our top five, we see Mr. YG Marley creep in maybe in part to his grandfather’s documentary as “Praise Jah in the Moonlight” is at #5. Then “Lose Control” by Mr. Teddy Swims is at #4, “Beautiful Things” by Mr. Benson Boone is at #3, “Murder on the Dancefloor”by Sophie Ellis-Bextor breaks my gag at #2 and finally, Noah is building his seven-week ark at #1. Now our real stories, of course, are in our influx of new entries, many of which are pretty damn high and have exceedingly more to talk about than I wish they did, so I suppose let’s start rounding those off.

New Entries

#64 - “ONE CALL” - Rich Amiri

Produced by Rio Leyva and Zuko

Now, I am not familiar with Rich Amiri, which is a pretty generic rap name all things considered so for all I know, I’ve listened to his mixtape, but I am familiar with some of his producers. Rio Leyva has credits across a lot of recent pop-rap mainstays like Lil Tecca, The Kid LAROI and even Yeat, and he tends to produce in a style many would say is rage-adjacent… so it makes sense that this is a rage song, with some genuinely wiry, menacing leads in the synths and a dirty, factorial trap skitter. The song’s barely two minutes, so it doesn’t really give Mr. Amiri much time to even finish his one verse, which is full of personality-void Auto-Tune and mindless repetition, but he isn’t exactly derivative of any specific person, it just sounds like he hasn’t figured out his exact voice yet, which is expected with up-and-coming rappers. The content obviously isn’t worth speaking of - it’s just flexing and violence and sex all delivered pretty plainly - but he’s not the worst at it? I don’t know, this is great production but I feel like there are rappers who could make this pop out a bit more. Maybe 454, SoFaygo, someone with a high-pitched squawk to make this feel dynamic? If you still want to go for relentless cool, get Thouxanbanfauni on the remix and this could be a slam dunk.

#62 - “Made for Me” - Muni Long

Produced by Jermaine Dupri, Bryan-Michael Cox and JordanXL

“Hrs and Hrs” is not a song I remember much at all let alone fondly, but the voice behind Muni Long is Priscilla Renea, a very prolific songwriter, so I imagine that with Jermaine Dupri on the boards, there could be some R&B wizardry to make her chances at a second hit much more solidified. As for if I like it or not, well, I can see it being a hit considering the 2000s throwback sound with the classy (yet almost basic-sounding) pianos, even down to the groove and the incessant sound effect that’s a bit distractingly loud in the mix, but by the end of the song, you almost forget it’s there and think it would sound weird if it wasn’t. Even if I generally like this song, I don’t really think it fits the song too much, which is about finding your soulmate and… NOT losing them. There should be some grandiosity to this, especially with that powerful voice and chorus, but it feels a bit lost in its own attempt to be “cool”, which… I don’t know, will it be a theme this episode? Probably not, but the first two songs definitely share the element of just not going far enough with good ideas. This is still a solid tune, though.

#60 - “Dance Alone” - Sia and Kylie Minogue

Produced by Jesse Shatkin and Jim-E Stack

Sia. Kylie. Two pop stars of very, very different prepositions but ultimately in the same niche. I have no hopes for anything Sia does, pretty much, never liked her, but what else would I have to say at this point? Her songs produce so little analysis from me because a lot of the time, it’s just kind of immediately obvious what will happen and what I’ll think. There are painfully basic vocal melodies, very typical disco-house beats, and Sia tries to actually play down the hamming but lets her natural characteristic of her voice end up preventing her from doing so because, well, that’s just how her voice sounds. A “subtle” Sia is just an awkward fit, and she may be trying that on purpose so she doesn’t put off pop listeners, but it just results in her being completely outclassed by Kylie, who eats this up as expected. That little “woo!” in the pre-chorus is to live for, as is the “(dance)” ad-lib in the final chorus, but by the time we’re in the “bridge” (see: the post-chorus again, same phrase repeated ad nauseum), Sia’s clipping in the mix again and nothing sounds like it cares about me caring, so I’m not caring. It’ll go hard in the Mumsnet forum voice chats. Do they have those? They should have those.

#55 - “Birds in the Sky” - NewEra

Produced by Karl Durkan and Ben Williams

Okay, I’ll bite: Who are NewEra? Well, according to Genius, they’re an EDM production duo from Dublin and this track from last year is their only song to appear on streaming, yet it’s released on Warner interesting. Either way, it’s clearly blown the Irish duo up a bit, so there must be some merit and well, the sample - wherever it’s from, I genuinely can’t find it - is about as weirdly mixed as they always are on these piano-led EDM cuts, but it doesn’t stick out too much amidst the more typical trance grooves and very basic, almost preset-sounding drums that lead into a constant anticlimax, leading the pianos and barely impactful drop sound like they’re teasing you into a false sense of confidence that the song is at all moving. It damn well works though, it’s pretty hypnotising, so when I was lulled into the drumless glitching section where the cheap pianos actually build up to a pretty good pounding drop, I was thoroughly immersed. These guys have done something right.

#50 - “Make You Mine” - Madison Beer

Produced by Madison Beer and Leroy Clampitt

Madison Beer is one of those ostensible “pop stars” that don’t exactly make innovative, experimental or often even interesting music but still exist only on the peripheries of the mainstream, many of which eventually get some kind of breakout chart hit, and this might just be Ms. Beer’s… well, if this is supposed to convince me on the personality and character of Madison Beer, I am not impressed at all, she doesn’t sound interested in developing that. If it’s supposed to convince me on her production ability… yeah, I’m hopping on this train. This is incredible. My comment on her vocal performance is not a detracting remark of the song, her emotionally confused, at times static and always intimate vocal take adds a lot of depth to the intense, but more accurately hallucinatory sensuality of the song. There’s a lot of staccato repetition, sure, I mean, it’s deep house, but it’s all a luring act as you can “slip inside her mind” (sure), against the warped synth basses, echoed and fuzzy vocal production, mesmerising synths that are incredibly well panned and mixed - the sound design is immaculate, and that’s not even mentioning the incessant groove or one of the catchiest nonsense hooks in pop of recent years. The drop barely registers as such, it feels like a natural climax that the song just slides into, despite all the little intricacies in both the build-up and the catharsis that transform the song into a fizzling journey of sexy club-pop that goes a lot harder in the details that I expected it to. I mean, the overdubbing of synth leads and curious glitches in the outro - nothing’s going to go exactly “wrong” in this hook-up, but it’s not where either expected to be… and for that night, it’s life-changing. I didn’t think I’d like this as much as I do but oh, my God, please make this a hit. ASAP.

#47 - “Heaven or Hell” - K-Trap

Produced by Nathaniel London, Jester Beats and Godwin Sonzi

Well, K-Trap’s back, this time without Headie One, and I guess this is his song for the ladies. There’s a swash of R&B keys, a Central Cee acoustic guitar - or an *NSYNC acoustic guitar relistening - and an actually interesting choice in making the drill hi-hats and really the rhythm section in general a bit papery, with a bass that feels mixed a bit too low yet still being relatively busy. K-Trap is just rambling misogynistically over all of this, and not just in a typical rap way, it’s a bit distracting and groan-worthy, but his comical delivery of some of this as well as the female spoken interludes kind of explain away his hypocrisy a bit. Not too effectively, of course, but it’s worth pointing out that it’s somewhat of a two-way street. I still find the soft percussion resemblant of sample drill pretty refreshing and enjoyable, I just wish maybe there was a more melodic presence of a rapper on it. Still okay.

#44 - “16 CARRIAGES” - Beyoncé

Produced by Beyoncé, Ink and Dave Hamelin

So, Queen Bey released two country-influenced songs on the Sunday - one’s in the top 10, the ballad is at #44. I will wait until this act two of RENAISSANCE is actually out before making any statements on Beyoncé doing country outside of that I hope she ends up shouting out or giving chances and/or feature spots to other Black women in that field, as a way of propping up that community within an industry that pretty flagrantly prevents that instead of just doing a genre switcheroo because she can and convincing nobody about anything systemic in the meanwhile. Hell, that’s more for me, personally, because I’d like to know a lot more Black country artists, and given that I’m obliged to listen to this album, I mean if you care about the genre, Bey, it’d be cool to point me in some directions. Not that it’s her job, but it would be a worthwhile light to shine especially since Beyoncé is both a hitmaker and a bit of a tastemaker.

As for the first of her country efforts though, this is a pretty heartfelt southern soul track that could almost act as a campfire song if not for Bey just not being in that zone as a singer, but it definitely has the clapped rhythm of one and some compelling lyrics regarding her time touring with Destiny’s Child. Now it’s less smoky than I’d really want a song like this to be, it doesn’t sizzle as much as it stagnates, particularly with that crash into the guitars and church organs that doesn’t really surge the way I so badly wanted it to. I do find the vocals excellent, the narrative interesting and still surprisingly relevant to her as a modern touring act as well, and the rapping is surprisingly well implemented, it feels just like she’s shooting the shit in the middle of her country storytelling song. In that regard, I’d like there to be a lot less grandiosity to the presentation, maybe do without the soaring overdubs or horns, make this more of an explicitly acoustic effort. I know it wouldn’t fit Beyoncé and all her harmonies and belting, as her presence isn’t always fit for minimalism, but she could pull it off. The problem with that would be is it doesn’t emulate the theatrics of a stage performance and the abrupt shock of showbiz being put onto her at an early age, so there’s some great mirroring there that almost makes up for me not being greatly into the actual sound of these tracks. Regardless, it does have me excited for the more solemn moments on this album, but we won’t be covering that until the end.

#37 - “Abracadabra” - Wes Nelson featuring Craig David

Produced by Mike Brainchild and Rndm Beats

CRAIG DAVID?! And it doesn’t appear to be a sample? The crowd says “bo selecta” indeed. Whatever about this Wes Nelson guy, he sounds like an AI amalgamated what every R&B singer has sounded like since the planes hit, or realistically, just Jeremih, but the beat is a rough-around-the-edges 2-step jam with harder bass than you’d think and some blocky space synths. It’s all very rote but it’s also Craig David and man, you can put however many filters on his voice, it’ll still sound like Craig David, and I can’t even seriously critique him anymore. I’m sure he’s a complex, nuanced human being with flaws and feelings but to me, he’s just an unexplainable deity figure. Also, there is a moment during the drop of this song - and the outro - where the beat cuts out for Craig David to say “Bruh”, and I just needed to point this out.

#31 - “Forever” - Noah Kahan

Produced by Noah Kahan and Gabe Simon

The Vermont singer-songwriter has released what appears to be the final deluxe edition of his #1 album Stick Season, subtitled “Forever”, henc ethe name of its sole original song. I’m honestly surprised this didn’t debut higher, but there is a lot debuting above it, and Kahan tends to have sleepers. Speaking of sleepers, I’m not really feeling this one as much. It’s got the wistful acoustics but it’s a lot slower in its pace, especially for its first half, which makes Kahan’s frail, nasal vocal that I’m still not that big on not nearly as ignorable, especially as it punctuates the lyrics so exactly and ends up making the harmonies, especially in the pre-chorus, somewhat haunting, which given the deterministic lovelorn lyricism, doesn’t seem to be the intention? It eventually picks up a nice little bluegrass-esque groove but nothing too far from an average Lumineers track in terms of just lacking bite and punch, whilst forcing Kahan to strain more than he needs to, to sell pretty resonant content.

#18 - “BACK TO ME” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, Ty Dolla $ign, 88-Keys, Wax Motif, AyoAA, Feez, Nic Nac and James Alex Hau

88-Keys, huh? Now, I’m not saying that Kanye West is Hitler, I’m just doing him a favour and comparing him to his idol. There are a lot of things that he loves about him. In a perfect world, I have the choice to completely ignore this album, especially since two of the debuts from VULTURES 1 (debuted at #2 on this week’s album charts) are considered widely to be the best tracks by both me and a lot of the fans, though I am a sucker for the darker, problematic last quarter that people don’t tend to like that much. I don’t want to admit that, of course, and I’m kind of torn between not feeding into exhaustive discourse by not mentioning any controversy and then feeling bad for not doing so because I’d be supporting his cult of fans who supposedly only care about the music, regardless of how his music is constantly reminding you of his controversies. It’s also not easy when you have two pretty damn good tracks from an album that largely consists of the man embarrassing himself and, well, Ty Dolla $ign, who sounds wonderfully smooth on this track and many others. He stands out particularly well over the punchy breakbeats and bass that entrench the mix. Hitler does embarrass himself as usual, but the minute-and-a-half Auto-Tuned quoting of an old comedy movie that he probably doesn’t even remember the rest of is an almost poetic reflection of where he is as an artist and a man. Oh, and Freddie Gibbs shows up to steal the show so effortlessly with his tightest, rapid flows I think I’ve heard from him in years, some excellent, topical wordplay that feels like it’s what the album wanted to be: playful and effervescent in its hedonism. He steals the show so much in fact that the song just ends after he does, he takes complete ownership. Nice one, Gibbs, do it on someone else’s album, for the love of God.

#17 - “BURN” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, Azul, Morten “Rissi” Ristorp, Chrishan, The Legendary Traxster and Leon Thomas III

This is just what this guy’s album used to sound like. We have a mid-album reminder that he can still do it, but only for two minutes, and half of that is Ty the Tasmanian Tiger over here carrying the album with his sloppily-mixed but still incredibly passionate and incessantly catchy chorus - I’ve had it in my head for the whole damn week, pretty much - over a very conventional, punchy chipmunk soul beat that lasts less than two minutes and it just ends up on a bittersweet note. The Hitler verse is his most coherent during the whole album, it’s pretty fun, it’s pretty traditional, not worth the attention paid. And neither is…

#12 - “CARNIVAL” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, TheLabCook, Ojivolta and Digital Nas

Now, thankfully, there really is nothing of value to cover here regardless of how and where you slice it. The song is like 60% Rich the Kid, which should show you how inspired the former GOAT has been lately. Hitler spends most of his verse just being cheaply transgressive for attention, pretty much explaining why I’m not a fan of prominent critics covering this album, dignifying it as more than an ego trip surrounded by yes-men. That’s not to say transgression can’t be art, there’s a lot of discussion to be had about the value of transgressions against the audience. And Hell, maybe a rage song about riding dick featuring Rich the Kid and Playboi Carti warrants that level of analysis, but that’s exactly what Hitler wants me to do here, and I’m not taking instructions from Hitler! I’m not following orders!

#9 - “TEXAS HOLD ‘EM” - Beyoncé

Produced by Beyoncé, Killah B and Nathan Ferraro

Alright, this is just fun. I’m sure someone more equipped than me to talk about country than me will have a lot to say about this song, but I just got a kick out of Bey’s sultry voice, as always perfectly layered with energetic ad-libs and riffing, over that acoustic rolick and clearly programmed thumping production and generic country ambiance. You can tell that this isn’t produced by Nashville staples as much as it’s a semi-outsider attempt at fusing country with Beyoncé’s more natural pop and R&B territory, but it doesn’t detract from it being a sick groove about just having a lot of fun on the dancefloor, boogieing with somebody who makes you forget about everything that’s going wrong. That whistling post-chorus with all the traditional fiddle - if I’m getting that correct - in the background is such a cool little moment, especially with the panning that replicates the live hoedown feel. It absolutely feels much more like a costume party than “16 CARRIAGES”, but to be honest, I might prefer this one just because of how easily Bey dresses up in this particular set of clothes. That’s not derogatory either, she literally lists off “hoops, spurs, boots” in that gorgeous outro. I’m actually glad that such a large, potentially problematic but still full of music to discuss ends on such a delightful, carefree note. Love it.

Conclusion

It’s not getting the best, though, Best of the Week is going to… surprisingly enough, Madison Beer for “Make You Mine”, but Bey obviously grabs the Honourable Mention with “TEXAS HOLD ‘EM”. As for the worst, I mean… there is a song with Rich the Kid on this week. “CARNIVAL” is a shoe-in, but given this was actually a pretty great week in terms of overall quality, it’s difficult. I think I want to give it to K-Trap for “Heaven and Hell” but that’s really because it appears as the lazier, less interesting of the songs I wasn’t a fan of. On another day, it probably would have been Sia, but K-Trap doesn’t have a Kylie Minogue feature. Anyway, with all of that chaos out of the way, thank you for reading, rest in peace to country legend Toby Keith, and I’ll see you next week!

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