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The single peaked at number 42 on the US 
Billboard
 Hot 100 and reached number one in Denmark, New Zealand, Spain and the United Kingdom. It also reached the top 10 several other countries, including Australia, Finland, Germany, Netherlands, Norway and Sweden. Commentators compared "Blood on the Dance Floor" to music from 
Dangerous
. Others commented on the song's perceived aggressive tone and the vocal style, the broad genres heard and possible lyrical interpretations of the song. Reviews at the time of release were largely mixed, but contemporary reviews have been favorable. The song was promoted with a music video that premiered on 
Top of the Pops
. It centered on Susie seducing Jackson in a courtship "dance", before opening a switchblade. "Blood on the Dance Floor" was the only track from the remix album performed on the HIStory World Tour.


Larry Flick from 
Billboard
 wrote, "Produced by the artist with Teddy Riley this track chugs with a pleasant jeep-styled groove that provides a firm foundation for a lip-smacking vocal and a harmony-laden hook that is downright unshakable." He added that it is a "winning jam".[11] 
The Dallas Morning News
 described "Blood on the Dance Floor" as an angry tale of a back-stabbing woman and Michael Saunders of 
The Boston Globe
 described it as "a middling dance-funk cut".[3][12] Anthony Violenti of 
The Buffalo News
 said of the single, "[it is] laced with Teddy Riley's new jack swing sound and a pounding techno beat", whereas 
The Cincinnati Post
 characterized the song as a "lackluster first release ... dated, played-out dance track", but gave the album an overall favorable review.[4][13] Jim Farber of 
New York Daily News
, noted of the vocals and musical style, "[Jackson] coughs up a series of strangulated mutters and munchkin hiccups in lieu of a vocal, while its chilly, faux-industrial music proves as appealing as a migraine".[7] David Sinclair from 
The Times
 constated, "With his voice little more than a whisper, and the groove screwed to a very high torque, this is as lean and urgent a piece as Jackson has ever produced."[14]


Music commentator Nelson George, compared the song to material from 
Dangerous
, such as the critically acclaimed tracks "Jam" and "Dangerous". He described it as a "pile driving" song that "explodes from radio speakers".[16] A longtime commentator on Jackson's public life, J. Randy Taraborrelli, gave a retrospective analysis of the album in the biography, 
The Magic & the Madness
. Taraborrelli thought that "Blood on the Dance Floor" was one of Jackson's best songs, a song that US fans "don't even know exists".[17] In 2005, J T Griffith, of AllMusic, believed that in hindsight, "Blood on the Dance Floor" was actually a good song. He explained, "[it is] a second-rate mixture of 'Beat It' and 'Thriller' but Jackson's missteps are better than most pop music out there. This track showcases all the artist's trademarks: the ooohing, the grunts, and funky basslines. It is hard to hear 'Blood on the Dance Floor' and not want to moonwalk or dance like a ghoul".[18]


"Blood on the Dance Floor" was the only track from 
Blood on the Dance Floor: History in the Mix
 to appear on the set list of the HIStory World Tour.[19] The music video for "Blood on the Dance Floor" was directed by Jackson and Vincent Paterson. Filming occurred in February 1997, when Jackson's first child Prince was born.[20] It premiered on 
Top of the Pops
 in the UK on March 28, 1997, several weeks ahead of its release as a single.[1] The video opens with a thrown switchblade impaling a spray painted image. The impaled image is that of a blood dripping love heart with "SUSIE + ME" scrawled across it. Jackson and a group of dancers then enter a salsa dance hall and he begins to dance with a woman, "Susie", while sh

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The musician said that singing in Balochi didn't feel like a hurdle because music does not have a language. "So even then, there would be Urdu-speaking people who'd listen to my Balochi songs and message to ask about the translation. Music does not have a language, we listen to it in every tongue," he explained.
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A year later, Mari gave birth to three puppies. That spring, animals behaved strangely, foreshadowing something major to come. On 23 October 2004, a major earthquake, which later became known as the Chūetsu earthquake struck and devastated the whole village. At that time, only grandfather and Aya were at home, and they were pinned down by a wardrobe that collapsed onto them. Mari quickly moved her puppies to a safe place before trying to help the two of them in the house.


After this incident, Aya did not mention about Mari anymore. When the aftershocks subsided, each family was able to send one representative to go into the village to survey the damage and to collect personal items. Since everyone at the shelter had heard the story of Mari, some people forgo their places to let Ryota and Aya search for Mari again. After a long search, there was no sign that Mari or her three puppies were alive. Just when they were about to give up, a puppy appears, followed by the rest of the dogs. The family happily took back the dogs to the shelter amid applause from the villagers.


The touching and dramatic tale of the relationship between a Japanese family, their dog and her three puppies, set against the backdrop of a devastating earthquake and the ensuing chaos, rescues and heroism.
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So just setting the frametitle through \setbeamertemplate or using \addtobeamertemplate will do no good, as on the next frame, frametitle will be redefined to focus. But \defbeamertemplate*frametitlefocus won't work either. So how can we overcome this?


With XTM Cloud 12.7, you have access to the beta version of interactive preview for video subtitles, included as standard until the release of XTM Cloud 13.0 (Q1 2022). This means you can enable Video preview at a click of a button and translate subtitles fully in context. Just upload a subtitle file and link it to a video from a publicly available website such as YouTube, Vimeo and voilà!


Not only can you open matches, terminology or quality tabs in a new browser tab/window, this also applies to the video player. Translate segments with subtitles on one screen, and preview the translated subtitles on another screen. Convenience and user-friendliness at the click of a button.


Sync a video preview with corresponding segments to see the part being translated. Alternatively, if you want to focus on segments with subtitles alone, you can unlink a video preview from corresponding segments.


The interactive preview ensures that linguists get the context they need to make accurate linguistic decisions quickly. They see the audiovisual content as they translate, and video subtitles are updated in real-time.


Live captions can be displayed in the player if the live event you are watching is being encoded by a live encoder that supports CEA 708 pass through captions and if the event's production team has set up a means to create those captions (for example: a live stenographer.) If this is the case, 
CC
 will be displayed and toggling it will show the captions just like their VOD counterparts. If you want to manually select them, click the captions/subtitles menu and choose 
Live CC
.


In order to use hot keys, you must have focus of the player. When focus is on the player, hot keys can control the player functionality. The table below describes the various hot keys and their associated behavior:





Basically, captions are speech to text access in the same language to deaf people with additional accessibility elements while subtitles are translations from one spoken language to a written language native to hearing viewers and not fully accessible to deaf people.



So I prefer to hear, lipread, and read captions in the same language. I prefer to access the original content whenever possible if I happen to know the original language.
 When I read subtitles, not only it gives me cognitive dissonance but also gives me a different feeling that may be lost in translation. Translation to another language may not accurately describe the feeling in the original language.


There are three main types of focus groups: traditional face-to-face focus groups, online/virtual focus groups, and hybrid focus groups. Traditional focus groups are held in person, while online/virtual focus groups are conducted remotely using video conferencing software, and hybrid focus groups are a combination of both.


They combine the benefits of both traditional and online/virtual focus groups. This format allows for in-person interaction, while also leveraging technology to reach a wider audience and reduce costs.


To prepare for a focus group, you need to define your research objectives and questions, determine the number of participants, recruit participants, select a location (if applicable), choose a moderator, and prepare a discussion guide.


During the focus group, the moderator will guide the discussion according to the prepared discussion guide. The goal is to elicit open-ended responses and encourage participants to share their opinions and experiences. Here are some tips for conducting a successful focus group:

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Deep house
 is a subgenre of house music[1][2][3] that originated in the 1980s, initially fusing elements of Chicago house with the lush chords of 1980s jazz-funk and touches of soul music. Its origins are attributed to the early recordings of Larry Heard (aka Mr. Fingers), including his influential track "Can You Feel It".[4]


Deep house is known for tempos typically from 110 to 125 bpm,[1][5][6] muted basslines, spacious use of percussion elements (typically using a Roland TR-909 drum machine),[7] soft keyboard sounds (pads), use of advanced chord structures, ambient mixes, and soulful vocals.[
citation needed
]


Deep house was largely pioneered by Chicago producers such as Marshall Jefferson (On the House) and Larry Heard (Mr. Fingers) and with tracks such as "Mystery of Love" (1985) and "Can You Feel It?" (1986);[8] the latter had a similar impact on deep house to that of Derrick May's "Strings of Life" (1987) on Detroit techno.[9] The jazzy sound became more common due to the favored use of gentler, more organic (yet still synthesizer based) production and instrument sounds. Author Richie Unterberger has stated that Heard's deep house sound moved house music away from its posthuman tendencies back towards the lush, soulful sound of early disco music (particularly that of old Philadelphia International and Salsoul records).[10] "Can You Feel It" became a deep house blueprint; Heard used a Roland Juno-60 synthesizer to create the deep bassline,[11] along with a Roland TR-909 drum machine for the beats.[7]


DJ Ron Trent stated that the term was initially used to describe the DJ work of Frankie Knuckles and Ron Hardy, who departed from a strictly electronic house sound to incorporate eclectic elements like disco, jazz, and underground music.[12]





In the 2000s and 2010s, the genre remained very popular. By around Aug 2014, however, the perception of the genre was resulting in a sense that some house music was being labeled deep inappropriately,[13] and the term has since been used to encapsulate various types of bassline-driven house music, later named Brazilian bass or slap house, as the genre evolves from its historical origins.


Record labels of the genre include Alleviated Records (Larry Heard), Madhouse Records. Inc (Kerri Chandler),[14] AFTR:HRS, Glasgow Underground, Naked Music, Om Records, Peacefrog Records, Soma, Source, Anjunadeep and Spinnin' Deep. Examples of deep house albums from artists known from other genres include 
The Martyr Mantras
 (1990) and 
Modernism: A New Decade
 (1989) from The Style Council.


Want more deep house music in your life? We recommend the Deep House Hits playlist! You can also listen to the various playlists featured in this article, or you can hit the button below to browse all of our deep house music releases, old and new!


Since 2003, Dogglounge Deep House internet radio plays an international blend of the deeper sounds of house music 24/7. In between individual tracks playing in constant rotation we recruit DJs from all over the world to bring you LIVE broadcasts every week. We spend many hours digging through our crates for the most stylish and unique house tracks for your listening pleasure.


Point Blank instructor Ski Oakenful is back with a tutorial on deep house chords in the style of Jimpster. Check out a video demonstrating the construction of Ski's new deep house arpeggiated chord rack:


The purpose of this article is to discuss the application of artificial intelligence (AI) in the design of the Deep House project (Fig. 1), an attempt to use estrangement as a method to emancipate a house from a canonical approach to the progressive design of a one-family house project. The main argument in this text is that the results created by Artificial Neural Networks (ANNs), whether in the form of GANs, CNNs, or other netw

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I condensatori sono ceramici da 1uF e sopra c'è scritto 65V, mentre il tutorial consiglia 16, può essere questo? Inoltre io per il collegamento utilizzo un pc con una porta seriale ed un cavo femmina/femmina, e poi inserisco i cavetti nei buchi opportuno XD
Solo che non mi sembra facciano molto contatto.. A volte scivolano... Può essere un altro problema?


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Starte DB9 maschio a 2 porte Db9 cavo seriale femmina, questo cavo splitter DB9 maschio a femmina Y" consente di agganciare 2 dispositivi seriali a una porta seriale (se i dispositivi e il software supportano questa configurazione). Inoltre può essere utilizzato per inviare l'uscita di un dispositivo terminale seriale (GPS, Apparecchiature dati, ETC) a due ricevitori. Questo è un cavo di alta qualità e presenta rilievi di deformazione stampati e viti a pollice scanalate. I cavi seriali a 9 pin possono anche essere chiamati cavi DB9 o cavi DB-9


Un cavo seriale è un cavo per computer utilizzato per il trasferimento di dati e informazioni tra computer. Questi cavi utilizzano protocolli di comunicazione seriale che inviano i dati un bit alla volta.
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Ak program nepomôže, môžete skúsiť SSC Service Utility resp. Spustíme program na resetovanie plienky epson. Volá sa program Epson Adjustment. Takže ak náhle nefunguje pre vašu tlačiareň, vyhľadajte inú verziu.
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2. For the 
Map file 
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When the group was halfway through recording 
Toys in the Attic
 in early 1975 at Record Plant in New York City, they found themselves stuck for material. They had written three or four songs for the album, having "to write the rest in the studio." They decided to give the song Perry had come up with in Hawaii a try, but it did not have lyrics or a title yet. Deciding to take a break from recording, band members and producer Jack Douglas went down to Times Square to see Mel Brooks' 
Young Frankenstein
. Returning to the studio, they were laughing about Marty Feldman telling Gene Wilder to follow him in the film, saying "walk this way" and limping.[4] Douglas suggested this as a title for their song.[6][7] But they still needed lyrics.


Live in concert, Tyler often has the audience, combined with members of the band, sing "talk this way". There is also a lengthy guitar solo at the end of the song, and in concert, Tyler will often harmonize his voice to mimic the sounds of the guitar.


"Walk This Way" was one of two hit singles by the band to hit the Top 10 of the 
Billboard
 Hot 100 in the 1970s, the other one being a re-release of "Dream On". "Walk This Way", though, helped 
Toys in the Attic
 to be the bestselling Aerosmith album, and one of the most critically acclaimed. Aerosmith's version of "Walk This Way" often competes with "Sweet Emotion" and "Dream On" for the title of Aerosmith's signature song, being one of the band's most important, influential, and recognizable songs. The band rarely omits it from their concert setlist, still performing their classic version of the song to this day. The song has also long been a staple of rock radio, garnering regular airplay on mainstream rock, classic rock, and album-oriented rock radio stations. In 2009, it was named the eighth greatest hard rock song of all time by VH1.[21]


In 1986, the hip hop group Run-DMC covered "Walk This Way", in collaboration with Aerosmith (with its leaders Steven Tyler and Joe Perry on vocals and guitars, respectively). While working on 
Raising Hell
, Rick Rubin pulled out 
Toys in the Attic
. At shows, Run-DMC had freestyled over the first few seconds of the song on a loop, not knowing what the full song sounded like, or even hearing the lyrics. While Joseph Simmons and Darryl McDaniels had no idea who Aerosmith were at that time, Rubin suggested remaking the song. Neither Simmons nor McDaniels liked the idea, though Jam Master Jay was open to it. They didn't want the record to be released as a single even after recording with Tyler and Perry, and were shocked when it was played on both urban and rock radio stations.[25] "I never even thought 'Walk This Way' would be a single," Rubin recalled. "Not that I didn't like it, but I didn't think in those terms."[26] DMC called it "a beautiful thing" in a trailer for 
Guitar Hero
 (this later appeared in a scene from the 2011 film 
The Smurfs
). This version of "Walk This Way" charted higher on the 
Billboard
 Hot 100 than the original, peaking at number 4, becoming Run-DMC's biggest hit. It was also the first hip hop single to reach the top five on the Billboard charts, as well as one of the first big hip hop singles in the UK, peaking at number 8.


The chorus of Run-DMC's cover contains a pitch alternation that Aerosmith adopted in most future live performances. In collaborations, the other singer often says "talk this way" every alternate line of the chorus. This rap-style delivery may explain why the song worked so well as a hip hop song when it was covered eleven years later.[29]


The guitar that Perry is playing is a Guild X-100 Bladerunner. The Guild X100 Bladerunner was originally developed and patented by David Newell and Andrew Desrosiers of David Andrew Guitars. The patent was licensed to Guild Guitars for 17 years and entered the public domai

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