"I often see people saying 'Nobody has produced an invulnerable software system; therefore, nobody will ever produce an invulnerable software system.'</p><p>"By the same bogus reasoning, nobody will ever reach Mars; nobody will ever find MD5 collisions; nobody will ever cure cancer; nobody will ever prove the Poincare conjecture; nobody will ever clone a human; nobody will ever build a 1GHz CPU; nobody will ever find SHA-1 collisions; nobody will ever break the sound barrier; etc." (15 January 2005)
American German mathematician, cryptologist and programmer
Daniel Julius Bernstein (born October 29, 1971) is an American mathematician, cryptologist, and computer scientist. He is a professor of computer science at the University of Illinois Chicago. He was a visiting professor in the department of mathematics and computer science at the Eindhoven University of Technology, and a visiting professor at CASA at Ruhr University Bochum through 2023.
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Alternative Names:
Daniel Julius Bernstein
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Daniel Bernstein
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Dan Bernstein
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Dan J. Bernstein
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D. J. Bernstein
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djb
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hashbreaker
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Now he took the music of like Mandrill, like "Fencewalk", certain disco records that had funky percussion breaks like The Incredible Bongo Band when they came out with "Apache" and he just kept that beat going. It might be that certain part of the record that everybody waits for--they just let their inner self go and get wild. The next thing you know the singer comes back in and you'd be mad.
Of course, the test difficulty depends on what you're doing, and on how you're doing it. I'm constantly asking "How much would I have to screw this up to write an incorrect function that passes these simple tests?" Occasionally the answer is "Not much," so I'll throw the code away and start over. It was probably perfect code, but that's not good enough.
:'Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records. The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.'"
Break-beat music and hip-hop culture were happening at the same time as the emergence of disco (in 1974 known as party music). Disco was also created by DJs in its initial phase, though these tended to be club jocks rather than mobile party jocks - records by Barry White, Eddie Kendricks and others became dancefloor hits in New York clubs like Tamberlane and Sanctuary and were crossed over onto radio by Frankie Crocker at station WBLS. There were many parallels in the techniques used by Kool DJ Herc and a pioneering disco DJ like Francis Grasso, who worked at Sanctuary, as they used similar mixtures and superimpositions of drumbeats, rock music, funk and African records For less creative disco DJs, however, the ideal was to slip-cute smoothly from the end of one record into the beginning of the next. They also created a context for breaks rather than foregrounding them, and the disco records which emerged out of the influence of this type of mixing tended to feature long introductions, anthemic choruses and extended vamp sections, all creating a tension which was released by the break. Break-beat music simply ate the cherry off the top of the cake and threw the rest away. In the words of DJ Grandmaster Flash: