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Douglas kung fu fighter12/31/2022 Turns out the same theaters that were showing all these classic blaxploitation movies, were also showing martial arts movies. Todd (VO): In fact, according to what I've read, the kung fu craze might have quickly just burnt itself out if not for black audiences who kept it alive. Todd: See, I have this theory-black people love kung fu.Ĭlips of various kung fu and blaxploitation films, ending with Black Belt Jones Carl Douglas was, I think, one of the first people to make the connection between kung fu and funk music. Enter the Dragon was released the year before, and the 70s martial arts craze was in full force by 1974. You see, kung fu had just become popular in the western world. Todd (VO): Now, if I had to guess what made this song so big, I think a part of it was that they made it with expert timing. But yeah, I'm gonna go out on a limb and say this is not a song written out of the deep love or understanding of ancient Chinese traditions.Ĭarl: There was funky China men from funky Chinatown Family photos Chinese-Jamaicans are a thing, I looked it up. Todd: I'm gonna guess neither of these people know all that much about East Asian culture, although I heard Carl say once that he had Chinese cousins. First off, keep in mind that this was put together by a Jamaican singer and an Indian producer in London. Todd (VO): Okay, well, let's take a look at it. ![]() #1 in America and England, 11 million records sold.Ĭarl Douglas: Everybody was kung fu fighting Those cats were fast as lightning Todd (VO): And let's be clear here-it was very big. To this day, Biddu says he has no idea why or how "Kung Fu Fighting" got big. Todd: The record executives decided that the B-side should be the single instead. Todd: And also, because they needed to have something on the B-side, they threw together some silly track about Bruce Lee movies in, like, ten minutes. Biddu and Carl Douglas had little doubt that this song was their ticket to the big time. And you know what? This song is pretty good. It was written by Larry Weiss, who wrote other several hit pop songs. Todd: I don't know if they knew it yet, but Biddu was in the forefront of what would become the defining sound of the decade- disco, which was just starting to pop up right around this time, making "I Want to Give You My Everything" one of the first of the genre. Record plays as Todd dances in chair Carl: I want to give you my everything Wait a minute, baby Todd: He made acquaintance with Douglas at some point, and when he needed a singer for his new song, he called in Carl to his studio where they made the song that would take them right to the top of the charts-"I Want to Give You My Everything". Todd (VO): Biddu would go on to become a big name in the 70s British pop scene and later as a composer for Bollywood movies, but for then, he was just a struggling producer looking for his first hit. Todd: But the major player in the buildup to Carl Douglas's success is not so much Douglas himself, as it is this man-a young musician known only as Biddu. He moved to London in the mid-60s and recorded some singles that didn't do anything, and by the early 70s, he was a session musician for Pye Records. Todd (VO): He's originally from Jamaica, and in fact, I think he might be the first Jamaican ever to have a hit in America, so eat that, Jimmy Cliff. I literally cannot find any single picture of Carl Douglas where he's not wearing a karate uniform and a headband. Todd: Okay, I don't have a lot of info here about Carl's life before "Kung Fu Fighting". Todd: So if I have you, I'll hold you down and judo chop some goddamn knowledge into you because y'all need to know the importance of this magnificent track, even if the only thing "fast as lightning" about its singer was his time in the spotlight. And I'll straight up tell you right now-if you don't like "Kung Fu Fighting", the problem is you. Todd (VO): I've also seen that list of awful songs from 1974 include "Kung Fu Fighting", the magnum opus of one Carl Douglas. ![]() Really, that's a pretty solid platter of shit. But they make a decent case for '74, the year that brought us "Seasons in the Sun", " The Night Chicago Died", "I Honestly Love You", "You're Having My Baby", "Mockingbird". I don't think I'd agree, not when we've got 1980, 1990, and 2001 to compare it to. This week, we're going back to 1974, a year that I've read many writers describe as the worst year in pop music history. Todd: Welcome back to One Hit Wonderland, where we take a look at the full careers of artists who wound up remembered for only one song. Video for Carl Douglas - "Kung Fu Fighting" Carl Douglas: Everybody was kung fu fighting Those cats were fast as lightning Todd plays "Kung Fu Fighting" in his piano Download lost season 2 episode 212/31/2022 Marina’s blackmail of Fogg clearly didn’t work, as he quickly made the decision to allow his own identity to be erased rather than reveal the counterspell, but his journey with Todd around campus getting closure with his bookies and drinking companions was oddly as poignant as it was humorous. The automated message that was activated when Marina tried to remove the enchantments surrounding Kady, Penny, and Josh kind of gave away Fogg’s identity as the originator of the spell and also gave Marina a clue as to who was hiding behind the unfamiliar faces, but that was the perfect way to move the story along. It was surprising how sympathetic Dean Fogg became in this episode. The graceful simplicity of the scene as Alice incepted the cockroach to spy out a new advantage was emphasized amusingly by Nick’s plaintive appeal, “C’mon now, a little narration!” All that’s left to wonder, in the best way possible, is what plan Alice has for Nick and Zelda’s chimney. Nick’s trick of reaching into the pneumatic tubes to get a small amount of magic was a pleasantly unexpected way for Alice to take advantage of the cockroach she acquired in the infirmary, not to mention a clever nod to the fact that Alice was reading Kafka’s Metamorphosis earlier. There were even some enticing new mysteries, such as the Monster’s missing “part” and Margo’s birthright box, to add to the mix.Īlice’s story stood out as a favorite, even though her involvement in the episode was quite brief. Although some plotlines are still works in progress with no real resolution in this episode, the forward progress that was made in each case was effective and appreciated. Despite the fact that this episode had to tell the stories of Margo in Fillory, Alice in the Library, Fogg and Julia at Brakebills, and Elliot and Quentin in Greece, each arc is tied together by the eventual removal of the students’ false identities. ![]() No show does disconnected storylines like The Magicians. This The Magicians review contains spoilers. Dirt 4 review ps412/28/2022 ![]() It's obvious that the intent was to have Dirt 5 go further into arcade territory, but Codemasters may have oversteered too far into that direction. The racing experience feels oversimplified to a point that it's at odds with the game design and presentation. Starting with the terrain and weather, it often feels like the game only cares about wet roads or dry roads, so you'll either slide or you won't. It doesn't reach the necessary level of engagement and fun to carry the player through the entire game. Sponsor objectives rarely deviate from getting first place or on the podium a certain amount of times, so the sponsorship mechanic feels tacked on and devoid of a meaningful payoff.Įven with unique objectives, impressive weather mechanics, and good-looking visuals, the gameplay experience is rather lean. Objectives are repeated quite often and aren't demanding you'll likely complete the extra objectives with a few drifts and overtakes. No matter what the game throws at you, it feels shallow. ![]() A sponsor system can provide extra unlockables and benefits if we satisfy their objectives. There are a few more nuances, such as throwdown races against a rival once we've won enough races and generated buzz. As you do, you'll unlock new cars and visual upgrades for the vehicles, and since the game is generous in handing out money and rewards, funds were never an issue when I needed to buy a ride for an event. You'll eventually go from race to race, get your prize money, and move on. An event podcast in the background introduces some tension and stakes as two hosts discuss your performance and how you stack up against other racers, but overall, it feels like a bare-bones career racing experience. Each event earns experience, money, reputation and tokens based on your performance and whether you complete extra objectives. The career mode is a branching tree of interconnected race events that need to be completed to unlock the path forward. The hope is that Dirt 5 can capitalize on its strong technical foundation and variety with actual gameplay, but that's exactly where the game falls short, starting with the basic career mode. There is a versatility that I appreciate, and it often made the early races more interesting. ![]() It can be somewhat hit-and-miss in terms of visual fidelity, since some weather/day combinations don't work as well as others, but there are moments when the game can look absolutely stunning as well as decidedly mediocre. The course selection supports that, with many tracks going across different terrains that can change based on the weather a previously dry road segment may evolve into a mudslide halfway through a race as puddles form and your car gets increasingly dirtier with every lap. During various day and lighting conditions, each track looks visually distinct. Dirt 5 continues in that vein with a versatile approach to weather and road conditions - at least visually.Įvery track in the game can be experienced in the rain, snow, sun, or all of them together. Dirt games were always about the terrain, so the road and weather conditions had to be taken into account and could impact vehicle handling and the approach to driving. That isn't wrong, but like many things in Dirt 5, there is more an illusion of diversity than actual tangible depth. On paper, that might look like an advantage to show off more diverse climates and environments. There's no open world to cruise around in, and the game design is rather traditional, with 75 tracks in 10 locations around the world, including Greece, Nepal and Norway. I'm a huge fan of the Forza Horizon series, so the prospect of Dirt 5 stepping into the ring and competing with one of my favorite racing games is a great move. While the colorful design and flashy visuals do their part to support the festival vibe, Dirt 5 often feels like a mediocre arcade racer wrapped in AAA production design with little substance to offer once the first few races are in the bag. Dirt 5 takes cues from Forza Horizon to create a racing festival in which you rise in the ranks as a driver through several events and across 10 worldwide locations. Whereas its direct predecessor, Dirt 4, tried a new path with procedurally generated rally tracks, Dirt 5 abruptly turns toward its competition. Expectations were set for Dirt 5 long before the game appeared on store shelves. Whereas Dirt Rally catered to a simulation-craving audience, Dirt went into an arcade direction with simpler physics and vehicle behavior. Codemasters has been going strong with its Dirt and Dirt Rally series. Bitrate converter mp3 online12/28/2022 I just had a look and this is the data I see from your file after downloading:ĭuration: 1 hour, 14 minutes, 3 seconds, 984 millisecondsįile size (decimal): 71.1 MB (71,103,822 bytes) You can then convert to mp3 (or whatever other format may be required) for delivery, keeping the original WAV files intact in case you might need to convert them to a different format later without any loss of audio quality. Personally, I would always record spoken material (music is a little different) as a standard WAV file at either 44.1kHz/16-bit or 48kHz/16-bit. Mp3 is fine as a delivery format but (for several reasons too involved to go into here) far from ideal as a recording format. Since you ask for my advice I suggest that you always record to WAV files in future (which are uncompressed and non-lossy) and NOT mp3 (which are both compressed AND lossy). However, the way I would deal with this (short of re-recording) would be to convert the files to WAV (at 44.1kHz/16-bit), and then to FLAC (which is compressed but non-lossy) and use that as the delivery format – that way you won’t lose any quality from your original files. Because mp3 is a lossy format, re-encoding to mp3 at 192 kbps will inevitably degrade quality (which may or may not be acceptable to you). In any case, it sounds like you recorded your files at either 128 or 129 kbps instead of the required 192 kbps, so you’ll need to correct them before submission. I took a look at their technical requirements and your distributor seems to require either mp3 files at 192 kbps or FLAC files at a sample rate of 44.1 kHz (and, presumably, because they don’t make this clear, 16-bit). It also sounds as though you perhaps used a variable bit rate (VBR) because 129 kbps (the files can’t possibly be 129 bps – that would be a ridiculously low bit rate) is not quite standard for CBR (continuous bit rate) mp3 files – although 128 kbps IS a standard bit rate, so this could simply be a reporting error. The basic formula is: File Size (bits) = Duration (seconds) * Bit Rate (bits per second). It’s important to realise that mp3 file codecs (CODEC is short for encode/decode) are usually expressed in kbps, which stands for kilobits PER SECOND, in other words, this is the amount of data which is streamed per-second when you play the file, which is why it’s called the bit rate – it DOES NOT refer to the total number of bits in the file itself the file size is determined by the duration of the encoded audio multiplied by the bit rate. It sounds as though you have recorded your audio book as mp3 files, yes? In terms of mp3 file encoding, describing a file as 128 or 129 “bits” makes no sense. If you find this useful and/or have any comments or suggestions then do let me know via the comment section below (please read our website rules before posting). ![]() Note that the file size reported by your device may vary slightly from that shown due to file allocation methods, possible differences in the amount of header information and/or the fact that some operating systems calculate hard disk space differently from others (e.g., some calculate it in binary and call 1kB 1024 bytes whilst others – and most hard drive manufacturers – calculate it in decimal and call 1kB 1000 bytes) – this calculator handles both methods. For compressed files encoded with VBR (Variable Bit Rate), the displayed file size can be slightly less accurate because in this case the bit rate can vary depending on the programme material. 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Specifically searched were records for motorcycle-related injuries containing an external cause of injury code (E-code) E810–816 and E818 (motor vehicle traffic related) and either a post-decimal value of 0.2 for injured motorcyclist, or 0.3 for injured passenger on a motorcycle. To examine the occurrence of motorcycle-related road rash injuries in the National Trauma Data Bank ® (NTDB ®) research dataset for 2013, hospital admissions records were searched using the International Classification of Diseases, Ninth Revision, Clinical Modification diagnoses codes. † After Advanced Trauma Life Support ® protocols are applied, principle tenets of wound care should be used to obtain the best functional and cosmetic outcomes. Other considerations would be tattooing that occurs when bituminous particles become embedded in the dermis after re-epithelialization and produce discolorations of the skin. Healed injures also are prone to hypertrophic changes. Deeper injuries that fail to heal may require excision and grafting. Patients may require hospital admission for adequate pain control, assistance with wound care, and therapies if the injuries span joints. These wounds can include a combination of deep abrasions, avulsions, and lacerations. Road rash injuries, as with thermal injuries, classify in terms of depth. Even with an entire industry based on apparel designed to protect motorcyclists, no federal laws or regulations mandate their use-and only 19 states and the District of Columbia require all motorcyclists to wear helmets. The activity that comes to mind first would be motorcycling. In the spring and summer months, the frequency of kinematic activities prone to road rash tend to increase. The degree of injury ultimately depends on the bodies in motion, the speed of the skin when it hits the road, the texture and condition of the surface, and the sliding distance. Unfortunately, the same tractive forces used to generate motion between a body and a tangential surface can wreak havoc on exposed dermal areas. Homer gave the name Asphaltites to a lake in Palestine, now known as the Dead Sea, which had been an ancient source of asphalt or bitumen.* Asphalt provides the maximum amount of traction between tires and other road-bound surfaces. The word “asphalt” derives from the Greek “asphaltos,” which is actually of Phoenician origin. Nevertheless, any activity that involves speed, skin, and asphalt has a potential for road rash. It is unclear whether the term was born in the hospital or is rooted in the motorcycle, skate, or some other speed-loving subculture. The term is distinct, descriptive, and diagnostic, but it refers to more than an allergic reaction to asphalt. Road rash is an alliteration that is entrenched in American slang and heard with frequency on spring and summer trauma rounds. AuthorWrite something about yourself. 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