This was another bug that happened only a handful of times, but it was definitely odd. Also strange were moments in the game where Geralt’s spoken dialogue was barely audible or missing altogether, while the other characters were loud and clear. What was more frustrating were the times when the game inexplicably crashed and closed I was lucky that every time this happened was mere moments after my last save, but I have no idea what caused this. This wasn’t happening constantly, but frequently enough to be noticeable and a bit frustrating. It felt like when pressing A to “examine” clues, for example, sometimes nothing would happen unless I moved Geralt to be standing at just the right angle or distance from the thing I was interacting with, despite the button prompt coming up on screen. However, I did find that at times, Geralt felt unresponsive or moved in a somewhat jerky manner, especially when trying to guide him over enemy remains to loot or while using my Witcher Senses to explore an area. Switching between them on the fly during combat was easy and seamless I had a great time using the fire spell, Igni, against enemies, and mixing in Signs with swordplay keeps combat feeling fresh. Geralt can use Signs, simple spells that range from dealing fire damage, to using telekinetic powers, to briefly shielding against damage and more. (I should note that I played the game entirely with a Pro Controller with my Switch docked.) Combat is incredibly fun, with the ability to make fast sword swings that deal less damage or slower swings that really pack a punch. Don’t get me wrong, Witcher 3 still looks good, it just doesn’t look as gorgeous as it does on other platforms.įor the most part, the game handles nicely. However, eventually you do sort of get used to it, and if this is your first experience with Witcher 3, it may not bother you as much. I’m usually the person rolling my eyes at those I consider graphics snobs, but this is an example of a reduction in graphical quality that I feel impacts gameplay. Grasses and the leaves in trees were indistinct blurs, the hides of Ghouls- meant to make the player recoil at how disgusting they are- weren’t very clear, and human hair didn’t have the same flowing quality. As the game opens with Geralt and his longtime mentor and father figure, Vesemir, on horseback in the countryside, I was so disappointed seeing how muddy the environment was. Compared to other platforms, Witcher 3’s graphics on Switch are significantly handicapped, to the point where it’s actually distracting. So, when CD Projekt Red announced they were bringing The Witcher 3: Wild Hunt - Complete Edition to Switch this year, I knew it was a game I was going to want to add to my Switch library.īeing totally honest, I found myself somewhat crestfallen booting up the game and getting past the opening cinematics. Though he hadn’t played the first two games in the series, we both found it pretty easy to follow what was happening. The game was intriguing, absolutely gorgeous, and the soundtrack was a delight to listen to. Percival Schuttenbach) ( 2:54)Ġ5 Dead Man’s Party (feat.Back in 2017, I watched my boyfriend play The Witcher 3: Wild Hunt on his PS4 and quickly found myself engrossed in watching the story unfold.
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He was simply seen as too low-class, or perhaps just too no-class, in his refusal to deny recognition to a segment of society that had been rendered invisible by the cultural mainstream. On one day alone, Ackerman wrote, he received calls from two Nashville music executives demanding that Billboard stop listing Elvis' records on the best-selling country chart because he played black music. It was in his embrace of black music that Elvis came in for his fiercest criticism. It was as succinct a definition as one might get of the democratic vision that fueled his music, a vision that denied distinctions of race, of class, of category, that embraced every kind of music equally, from the highest up to the lowest down. No one could have embraced Ackerman's formulation more forcefully (or more fully) than Elvis Presley.Īsked to characterize his singing style when he first auditioned at the Sun recording studio in Memphis, Tenn., Elvis said he sang all kinds of music - "I don't sound like nobody." This was far more than the bravado of an 18-year-old who had never sung in public before. It was due to rock 'n' roll, he emphasized, that groundbreaking artists like Big Joe Turner, Ray Charles, Chuck Berry and Little Richard, who only recently had been confined to the "race" market, acquired a broad-based pop following, while the music itself blossomed neither as a regional nor a racial phenomenon but as a joyful new synthesis "rich with Negro and hillbilly lore." "In one aspect of America's cultural life," Ackerman wrote in 1958, "integration has already taken place." "I prayed about it," she said, "because I know Elvis was a racist."Īnd yet, as legendary Billboard editor Paul Ackerman never tired of pointing out, the music represented not just an amalgam of America's folk traditions (blues, gospel, country) but a bold restatement of an egalitarian ideal. Blige expressed her reservations about performing one of his signature songs, she only gave voice to a view common in the African-American community. This is not, unfortunately, how it is always perceived 30 years after his death, the anniversary of which is today. It was what he believed, it was what his music had stood for from the start: the breakdown of barriers, both musical and racial. In Elvis' case, this simple lesson was not just lip service to an abstract principle. Members of Pierre Fabre’s selective distribution system were required to sell cosmetics and personal care products only at brick and mortar stores and in the presence of a trained pharmacist: The Court of Justice of the EU (CJEU) first addressed restrictions on online sales through its judgment in Pierre Fabre. Such practices survive antitrust scrutiny only where the four criteria under Article 101(3) TFEU are cumulatively met. Outright bans on internet sales constitute by object restrictions of competition within the meaning of Article 101(1) TFEU and correspond to hardcore constraints under the VBER.
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If there was ever a reason to delay an album anniversary post, getting Trump out of the White House and throwing a (pandemic-safe) party to celebrate Biden and Harris getting in is the best reason. Lopez was busy this month preparing to perform at the inauguration of President Biden and Vice President Harris. Lopez was a few days late to celebrate the 20-year anniversary of her album, which also included the singles “I’m Real” and “Ain’t It Funny,” but we understand the delay. The song and video were released in December 2000, while the album followed shortly after and dropped on January 16, 2001. “Love Don’t Cost A Thing” was the lead single from Lopez’s sophomore album J. “Thank you so much for all the love over the past 20 years!! I love you so much!!” “As I reflect on the fact that it’s the #JLo20thAnniversary, I just wanted to say thank you to all of you for being with me, loving me and supporting me through all the ups and downs,” wrote Lopez in a second Instagram post. It also featured backup dancer Cris Judd, who months later would become Lopez’s second husband following the actor’s breakup from boyfriend Diddy. The Paul Hunter-directed video earned Lopez nominations for "Best Female Video" and "Best Dance Video" at the 2001 MTV Video Music Awards. So far there have been a few entries with green screens and look-a-likes, but considering most people can’t travel to a beach (or down the street) at the moment and no one wants to throw the new FitBit they got during the holidays (do steps even exist if there’s no fitness tracker to count them?), the challenge has yet to pick up steam. Lopez included the hashtag #LoveDontCostAThingChallenge in hopes that the ode to her iconic music video may go viral. The new clip did not include Lopez exiting a mansion and driving an Aston Martin, but we assume that was more a time constraint issue opposed to a lack of access to either things. On January 24, Lopez posted a video of herself once again taking a determined walk down a beach in Miami where she shed her designer coat (her own floss) and jewelry (ice) in an act of defiance against her lover who insists on buying her love. If this doesn’t increase sales for J Lo Beauty, nothing will. She’s recreating the iconic video to remind fans that she has not aged in two decades. Jennifer Lopez is celebrating the anniversary of her 2001 single “ Love Don’t Cost A Thing” in the most J Lo way possible. |
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