COWBOYBOOGIE Aka California Freeze, Charleston Rock, Ming

Total Page:16

File Type:pdf, Size:1020Kb

COWBOYBOOGIE Aka California Freeze, Charleston Rock, Ming C O W B O Y B O O G I E a.k.a. California freeze, Charleston rock, Ming boogie, Watergate, The Louie Chorégraphe : Kelly BURKHARDT // Novembre 1998 LINE DANCE , 24 temps , 4 murs Niveau : Débutant Musique : « Elvira » THE OAK RIDGE BOYS WCS // BPM 128 « I Love A Rainy Night » Eddie RABBITT // BPM 134 « Thriller » Michael JACKSON // BPM 118 « Swingin' » John ANDERSON // BPM 110 « Walk Of Life » Dire STRAITS // BPM 148 « The Fireman » George STRAIT // BPM 168 « Guitar Town » Steve EARLE // BPM 166 « Achy breaky heart » Billy Ray CYRUS // BPM 120 Introduction : BILLY RAY CYRUS : 16 temps RIGHT VINE, LEFT VINE 1.2.3 VINE à D : Pas PD à D - CROSS PG derrière PD - Pas PD à D 4 HOP à D sur PD + HITCH Genou G 5.6.7 VINE à G : Pas PG à G - CROSS PD derrière PG - Pas PG à G 8 HOP à G sur PG + HITCH Genou D FORWARD STEP HOP, BACKWARD MOVEMENT 1.2 Pas PD avant - HOP avant sur PD + HITCH Genou G 3.4 Pas PG avant - HOP avant sur PG + HITCH Genou D 5.6.7 Pas PD arrière - Pas PG arrière - Pas PD arrière 8 HOP arrière sur PD + HITCH Genou G HIP BOOGIES & TURN 1/4 LEFT 1.2 Pas PG avant … HIP BUMP à G - HIP BUMP à G 3.4 HIP BUMP à D - HIP BUMP à D 5.6 HIP BUMP à G - HIP BUMP à D 7.8 HIP BUMP à G - HITCH Genou D … 1/4 tour à G 9 : 00 La danse doit rester un plaisir alors Keep smiling ! Chorégraphie traduite et mise en page par Séverine DESPINOY, animatrice diplômée COUNTRYFORM’ niveau 2 Cowboy boogie a.k.a. California freeze, Charleston rock, Ming boogie, Watergate, The Louie Choreographed by Kelly Burkhardt Description : 24 count, 4 wall, ultra beginner line dance Music : « Elvira » by The Oak Ridge Boys [128 BPM / Best Of / Available on iTunes] « I Love A Rainy Night » by Eddie Rabbitt [132 BPM / Eddie Rabbitt All Time Greatest Hits / CD: Most Awesome Linedancing Album Vol. 8 / Available on iTunes] « Thriller » by Michael Jackson [118 BPM / Thriller / History / Available on iTunes] « Swingin' » by John Anderson [108 BPM / CD: John Anderson: Ultimate Hits / Country 'Till I Die / Readers Digest 50 Years Of Country Easy Listening / Available on iTunes] « Walk Of Life » by Dire Straits [173 BPM / Sultans Of Swing: The Very Best Of Dire Straits / Available on iTunes] « The Fireman » by George Strait [168 BPM / Strait Out Of The Box / Available on iTunes] « Guitar Town » by Steve Earle [172 bpm / Toe The Line 2 / Available on iTunes] Start on lyrics RIGHT VINE, LEFT VINE 1-2-3-4 Step right side, cross left behind, step right side, hop right side and hitch left 5-6-7-8 Step left side, cross right behind, step left side, hop left side and hitch right FORWARD STEP HOP, BACKWARD MOVEMENT 1-2 Step right forward, hop right forward and hitch left 3-4 Step left forward, hop left forward and hitch right 5-6-7-8 Step right back, step left back, step right back, hop right back and hitch left HIP BOOGIES & TURN 1/4 LEFT 1-2 Step left forward and hip left, hip left 3-4 Hip right, hip right 5-6 Hip left, hip right 7-8 Hip left, hitch right Turn 1/4 left to start the dance again REPEAT Chorégraphie traduite et mise en page par Séverine DESPINOY, animatrice diplômée COUNTRYFORM’ niveau 2 .
Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • The B-Boy Summit Internationally Acclaimed B-Boy/B-Girl Event
    THE B-BOY SUMMIT INTERNATIONALLY ACCLAIMED B-BOY/B-GIRL EVENT Produced by No Easy Props OVERVIEW The B-boy Summit continues to be a major trendsetter in Hip-Hop street dance, art and music culture. Established in 1994, The Summit presented innovative ideas in Hip-Hop culture, offering a conference forum complete with competitions, performances, panels, workshops, and a marketplace for consumer friendly products marketed toward the Hip-Hop community. Never content with success, The B-boy Summit continues its mission to bring the hottest street dance, art, and music above ground to the masses. The B-boy Summit has grown into an internationally acclaimed 3 day festival incorporating all aspects of Hip-Hop in different plateaus, including the most intense battles, rawest circles, theatre performances, a DJ/MC Talent Showcase and live aerosol art painting. The B-boy Summit was created in 1994 out of the need for a community orientated Hip-Hop event that encompassed knowledge of the history of Hip-Hop culture and the skills of B-boying and B-girling. At that point in time B-boys and B-girls didn’t have a platform in which to come together, dance and pay homage to the traditional dance of Hip-Hop. Each year the event has expanded to encompass B-boys, B-girls, MCs, Aerosol Artists, and DJs from across the globe, steadily building into what is now the foremost Hip-Hop cultural event in the world. More recently, The Summit has become one of the most important events for Lockers, Poppers, Freestyle and House Dancers to take part in during The Summit’s Funk Fest.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • The Charleston by Dawn Lille
    The Charleston by Dawn Lille The 1920s in America were characterized by a During World War I, many southern African sense of abandon, pleasure, and gaiety. The Americans came north to a better life. They era’s chief literary chronicler, F. Scott Fitzgerald, brought their dance and music with them and immortalized the flapper and her dance, the frequented Harlem dance halls and nightclubs. Charleston, as quintessential symbols of the Some of the better dancers were hired for the time. The dance and the “new woman” were acts presented in such places as the Cotton Club solidly entwined for one glorious year, mid- and Small’s Paradise, which were patronized by 1926 to mid-1927. Although other dances white downtown audiences who eventually replaced it, the Charleston, an indigenous brought the dances to white ballrooms. The American jazz dance, has made frequent Savoy Ballroom opened in 1926, coinciding comebacks in one form or another ever since. with the Harlem Renaissance; it was racially Roger Pryor Dodge, an early dance critic, called integrated and had a special area reserved for it the greatest step of all and a major the best dancers. contribution to American dance. But it was Broadway that launched the The Charleston is a dance that was performed Charleston craze. The dance was introduced in by the descendants of African slaves in the 1922 in an all-black stage play called Liza, and American south. Like its sister vernacular form, was present to some degree in many of the jazz, from which it takes its rhythmic influential all-black musicals such as Shuffle propulsion, it is a blend of African and European Along.
    [Show full text]
  • Study Guide Table of Contents Pre-Performance Activities and Information
    For Grades K - 12 STUDY GUIDE TABLE OF CONTENTS PRE-PERFORMANCE ACTIVITIES AND INFORMATION TEKS Addressed 3 Attending a ballet performance 5 The story of The Nutcracker 6 The Science Behind The Snow 13 The Artists Who Created Nutcracker: Choreographers 16 The Artists Who Created Nutcracker: Composer 17 The Artists Who Created Nutcracker: Designer 18 Animals Around The World 19 Dancers From Around The World 21 Look Ma, No Words 22 Why Do They Wear That? 24 Ballet Basics: Fantastic Feet 25 Ballet Basics: All About Arms 26 Houston Ballet: 1955 To Today 27 Appendix A: Mood Cards 28 Appendix B: Set Design 29 Appendix C: Costume Design 30 Appendix D: Glossary 31 Program Evaluation 33 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Identify different countries from around the world; • Describe the science behind the snow used in The Nutcracker; • Describe at least one dance from The Nutcracker in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §112.11. SCIENCE, KINDERGARTEN (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life §117.112. MUSIC, GRADE 3 (1) Foundations: music literacy. The student describes and analyzes musical sound. §117.109. MUSIC, GRADE 2 (1) Foundations: music literacy. The student describes and analyzes musical sound. (6) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performances. §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures.
    [Show full text]
  • Performances on Planet Break1
    DOSSIER PERFORMANCES ON DOI https://dx.doi.org/10.11606/ 1 issn.2525-3123.gis.2019.162333 PLANET BREAK OTÁVIO RAPOSO Centro de Investigação e Estudos de Sociologia, ORCID Instituto Universitário de Lisboa (CIES–IUL), Lisbon, https://orcid.org/0000-0001-8000-6901 Portugal, 1649-026- [email protected] PERFORMANCES ON PLANET BREAK 6'24'', 2018 1. This work is a result of my PhD research on Anthropology (Rapo- so, 2013), which also produced the documentary “A galera” (2016). It was funded by Fundação para a Ciência e Tecnologia (FCT) and developed at University Institute of Lisbon and Centre for Re- search and Studies in Sociology. 321 São Paulo, v. 4, n.1, p. 321-324, Oct. 2019 Bodies sway to the rhythm of funk and breakbeat. Dancing is joined by clapping hands and attentive gazes, revealing closeness among those taking part. Snapback caps, designer trainers and colourful t-shirts bearing symbols connected to “hip-hop culture” predominate among the young people, visual fronts that embody their adherence to the same lifestyle (Pais 2004). After all, it is not enough to do breakdancing2 to be a b-boy or b-girl, you need to show that you are one. Both actions (doing and showing) are part of a dancer’s performance (Schechner 2002) and are compulsory in embodying that identity. As music begins to fill up the space, the number of cyphers multiplies, where b-boys and b-girls contend for the privilege of dancing. The per- formances are no longer than thirty seconds. For each “entry”, they must display a range of varied movements while others watch, waiting for their turn to enter the cypher.
    [Show full text]
  • She's the Jazz: an Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected]
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Performance Studies Commons, and the Women's Studies Commons Recommended Citation Terry, Jillian, "She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper" (2019). Honors College Capstone Experience/Thesis Projects. Paper 811. https://digitalcommons.wku.edu/stu_hon_theses/811 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SHE’S THE JAZZ: AN EXPLORATION OF DANCE AND SOCIETY IN THE AGE OF THE FLAPPER A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky University By Jillian C. Terry May 2019 ***** CE/T Committee: Professor Amanda Clark, Chair Assistant Professor Anna Patsfall Copyright by Jillian C. Terry 2019 ii I dedicate this written thesis to my parents, Samuel Robert and Christy Terry, who have supported me wholly with unfailing love in every adventure along the way. iii ACKNOWLEDGEMENTS My work would not be
    [Show full text]
  • City of Punta Gorda Adaptation Plan
    City of Punta Gorda Adaptation Plan Southwest Florida Regional Planning Council Charlotte Harbor National Estuary Program Technical Report 09-4 11/18/2009 James W. Beever III, Whitney Gray, Daniel Trescott, Dan Cobb, Jason Utley, David Hutchinson, John Gibbons, Tim Walker, Moji Abimbola: SWFRPC And Lisa B. Beever, Judy Ott: CHNEP 1926 Victoria Avenue Fort Myers FL 33901 (239) 338-2550 www.SWFRPC.org and www.CHNEP.org Adaptation Plan Page 1 The Charlotte Harbor National Estuary Program is a partnership of citizens, elected officials, resource managers and commercial and recreational resource users working to improve the water quality and ecological integrity of the greater Charlotte Harbor watershed. A cooperative decision-making process is used within the program to address diverse resource management concerns in the 4,400 square mile study area. Many of these partners also financially support the Program, which, in turn, affords the Program opportunities to fund projects such as this. The entities that have financially supported the program include the following: U.S. Environmental Protection Agency Southwest Florida Water Management District South Florida Water Management District Florida Department of Environmental Protection Peace River/Manasota Regional Water Supply Authority Polk, Sarasota, Manatee, Lee, Charlotte, DeSoto, and Hardee Counties Cities of Sanibel, Cape Coral, Fort Myers, Punta Gorda, North Port, Venice, Fort Myers Beach, and Winter Haven and the Southwest Florida Regional Planning Council. Adaptation Plan Page 2 Charlotte Harbor National Estuary Program Policy Committee Mr. Tom Welborn, Co-Chair Mr. Jon Iglehart, Co-Chair Branch Chief, Wetlands, Coastal, & Water Quality South District Director U. S. Environmental Protection Agency, Region 4 Florida Department of Environmental Protection CITIES COUNTIES AGENCIES Hon.
    [Show full text]
  • Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950
    Moore 1 Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950 By Alex Moore Project Advisor: Dyane Harvey Senior Global Studies Thesis with Honors Distinction December 2010 [We] need to understand that African slaves, through largely self‐generative activity, molded their new environment at least as much as they were molded by it. …African Americans are descendants of a people who were second to none in laying the foundations of the economic and cultural life of the nation. …Therefore, …honest American history is inextricably tied to African American history, and…neither can be complete without a full consideration of the other. ‐‐Sterling Stuckey Moore 2 Index 1) Finding the Familiar and Expressions of Resistance in Plantation Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 6 a) The Ring Shout b) The Cake Walk 2) Experimentation and Responding to Hostility in Early Partner Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 14 a) Hugging Dances b) Slave Balls and Race Improvement c) The Blues and the Role of the Jook 3) Crossing the Racial Divide to Find Uniquely American Forms in Swing Dances ‐‐‐‐‐‐ 22 a) The Charleston b) The Lindy Hop Topics for Further Study ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 30 Acknowledgements ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 31 Works Cited ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 32 Appendix A Appendix B Appendix C Appendix D Moore 3 Cross‐Cultural Perspectives on the Creation of American Dance When people leave the society into which they were born (whether by choice or by force), they bring as much of their culture as they are able with them. Culture serves as an extension of identity. Dance is one of the cultural elements easiest to bring along; it is one of the most mobile elements of culture, tucked away in the muscle memory of our bodies.
    [Show full text]
  • Dance Mechanics for Lindy
    May Workshops SATURDAY MAY 5TH SUNDAY MAY 13TH Hustle Dance Mechanics with Robert Vance and Zulma Rodriguez For Lindy Hop 3:00p-6:00p Level: Adv Beginner 1:00p-4:00p Level: Open with Adrienne Weidert& Rafal Pustelny In this workshop, the basics of this fun dance are reviewed, and we will pick up new For all dancers at every level this is a technique class focusing on body awareness information to keep you on your learning path. Topics such as the basic partnering in movement. By moving from your core you become an efficient dancing machine. positions and a basic understanding of the slot in which the steps are executed are We will work on balance and turning exercises within the solo jazz & Charleston and related. In addition to the 3 count basic, 6 count right and left turns are included. Lindy Hop vocabulary as well as how to take what you work on in class to a better Exciting steps such as underarm turns, wraps and whips, and the NY Walk are level. Open Level including Pre-Intermediate to advanced level; swing out comfort taught. Shadow position and cross body lead are also included to produce a well- ability is helpful as we will apply the exercises within the context of swing outs. rounded introduction to the dance that made John Travolta famous! Pricing: $45 In Adv/ $55 Day Of Pricing: $45 In Adv / $55 Day Of SATURDAY MAY 19TH SUNDAY MAY 6TH Salsa Crash Course Learn to Partner Dance: 12p-3p; Level: Beginner with Exenia Rocco Open to beginners with little or no prior dance experience.
    [Show full text]
  • Arxiv:1705.06950V1 [Cs.CV] 19 May 2017
    The Kinetics Human Action Video Dataset Will Kay Joao˜ Carreira Karen Simonyan Brian Zhang [email protected] [email protected] [email protected] [email protected] Chloe Hillier Sudheendra Vijayanarasimhan Fabio Viola [email protected] [email protected] [email protected] Tim Green Trevor Back Paul Natsev Mustafa Suleyman [email protected] [email protected] [email protected] [email protected] Andrew Zisserman [email protected] Abstract purposes, including multi-modal analysis. Our inspiration in providing a dataset for classification is ImageNet [18], We describe the DeepMind Kinetics human action video where the significant benefits of first training deep networks dataset. The dataset contains 400 human action classes, on this dataset for classification, and then using the trained with at least 400 video clips for each action. Each clip lasts network for other purposes (detection, image segmenta- around 10s and is taken from a different YouTube video. The tion, non-visual modalities (e.g. sound, depth), etc) are well actions are human focussed and cover a broad range of known. classes including human-object interactions such as play- The Kinetics dataset can be seen as the successor to the ing instruments, as well as human-human interactions such two human action video datasets that have emerged as the as shaking hands. We describe the statistics of the dataset, standard benchmarks for this area: HMDB-51 [15] and how it was collected, and give some baseline performance UCF-101 [20]. These datasets have served the commu- figures for neural network architectures trained and tested nity very well, but their usefulness is now expiring.
    [Show full text]